Configuring a playlist or sequence of compositions or stream of compositions

ABSTRACT

A method, apparatus and system that enables a user to find and act-upon a sound-containing composition, in a group of compositions. One or more sound-segments, which are intended to prompt a user&#39;s memory, may be associated with each composition in a group of compositions. A recognition sound-segment may include a portion of its associated composition, which is more recognizable to users than the beginning part of its associated composition. A recognition-segment may contain one or more highly recognizable portion(s) of a composition. When the user is trying to locate or select a particular composition, the recognition-segments are navigated and played-back to the user, based upon a user-device context/mode. When a user recognizes the desired composition from its recognition-segment, the user may initiate a control action to playback; arrange; and/or act-upon, the composition that is associated with the currently playing recognition-segment.

RELATED APPLICATIONS

This application is a continuation of U.S. application Ser. No.15/204,297 filed on Jul. 7, 2016, now U.S. Pat. No. 10,275,415; which isa continuation of U.S. application Ser. No. 14/838,167 filed Aug. 27,2015, now U.S. Pat. No. 9,412,350; which is a continuation-in-part ofU.S. application Ser. No. 13/286,578 filed Nov. 1, 2011, now U.S. Pat.No. 8,716,584; which claims the benefit of Provisional Application61/408,690, filed Nov. 1, 2010, entitled “Using Recognition-Segments toFind and Act-Upon Compositions Containing Sound”. These earlierapplications, in their entirety, are incorporated by reference into thisspecification.

BACKGROUND Description of Related Art

If the user wants to find or playback a particular song on a compactdisk (CD), personal computer hard drive or music-device (such as anApple iTunes or iPod), the user typically needs to know the song titleby name, then locate the song (or song number) in a written song listingand then activate user controls to reach the start of the desired song.This requires the user to know the song title and for the user tovisually read information on the media packaging (e.g., CD liner) oruser-device display-screen.

Alternatively, the user can navigate between songs using the “forward”and “backward” controls and hear whether the desired song is playing.But this can be frustrating because the beginning of a composition oftenbegins “slowly” and/or with a slowly increasing volume and are oftenless distinguishable. A listener may have to listen to the beginning ofa composition for a significant time before determining that thecomposition is actually the one they were “looking” for.

Some user-devices (e.g., Apple iTunes and iPod) allow a user to create acustomized ordered playlist by manually selecting compositions from alibrary of compositions. The user is typically presented with a visuallisting of the available library and a visual listing of the playlistselections by composition title/artist, in-order to add or removecompositions from the playlist by interacting with the display. The useris required to make their playlist selections by knowing the compositionby title and artist. If they are uncertain what the composition is byits textual information, they may have an option to play the compositionfrom its beginning. But this is frustrating since the listener may haveto listen to the beginning of a composition for a significant timebefore determining that the composition is actually the one they were“looking for”.

SUMMARY

A method, apparatus and/or system to enable a user to more quickly findand act-upon a composition, that contains an audio component, in a groupof compositions.

A short, but highly recognizable portion(s) (a recognition-segment) ofeach composition may be associated with each composition in a group ofcompositions. A recognition-segment may include a portion of itsassociated composition, which is more recognizable to users than thebeginning part of its associated composition.

When the user is trying to locate and/or act-upon (e.g., play orarrange/organize) a particular composition, the recognition-segments maybe played back to the user based on a user-device context. When a userrecognizes the desired composition from its recognition-segment, theuser may initiate a control action (or inaction) to act-upon (e.g.,playback) the composition that is associated with the currently playingrecognition-segment.

Although the disclosed concepts and embodiments may be particularlyuseful with musical compositions, they may useful with any type of mediaor multi-media composition that contains an audio component.

There are many objects and advantages of the disclosed embodiments, whencompared with the existing state of the art. The objects and advantagesmay vary with each embodiment. The objects and advantages of each of thevarious embodiments may include different subsets of the followingobjects and advantages:

-   -   1) Allow a user to quickly find a desired composition for        playback without knowing the name of the composition (e.g.,        song) or artist/creator.    -   2) Prompt a user's memory with a distinguishable portion of a        composition.    -   3) May be used in combination with a visual display to find or        select a desired composition. 4) Compatibility with existing        audio devices and modes of operation.    -   5) Easy for the user to adapt and use.    -   6) Usable with very large number of compositions now available        with increased storage capacity user-devices.    -   7) In some embodiments, reduce/eliminate the user's need to look        at a textual listing or a visual display to locate a desired        composition.

BRIEF DESCRIPTION OF DRAWINGS

FIG. 1 is a flow diagram illustrating the navigation ofrecognition-segments and the acting-upon the composition associated witha currently “active” recognition-segment.

FIGS. 2a-2e illustrate some embodiments for the creation and definitionof a recognition-segment.

FIG. 3 illustrates one embodiment of an association of arecognition-segment with each composition and an ordering ofcompositions.

FIG. 4a illustrates one embodiment of user-device controls (fullcomposition playing).

FIG. 4b illustrates one embodiment of user-device controls(recognition-segment playing).

FIG. 5 shows a high level flow diagram for one embodiment.

FIG. 6 is a flow diagram of one embodiment of a composition-finder.

FIG. 7 shows an embodiment of a display screen showing an ordering ofcompositions and multiple recognition-segments associated with eachcomposition.

FIG. 8 shows another example of simultaneously playing back acombination of “n” recognition-segments.

FIG. 9 shows an example of a listing of songs that may be displayed by auser-device.

FIG. 10 shows, of a listing of songs that may be displayed on an iPod orsimilar user-device; for an embodiment where 4 recognition-segments areplayed back at the same time.

FIG. 11 shows a distribution of the recognition-segments across aplurality of sound emitters (e.g., speakers).

FIG. 12 shows an embodiment of the functional flow between user-devices,experience providers and composition providers.

FIG. 13 shows an embodiment of a functional block diagram of apersonalized music player.

FIG. 14 illustrates another example of how an ordering of compositionsmay be displayed for a user on a portion of a display or in a window ona display.

FIG. 15 shows an example of simultaneously playing back a combination of“n” recognition-segments.

FIG. 16 shows an example combination of recognition-segments, after thecurrent-location has been moved.

FIG. 17 shows another example of simultaneously playing back acombination of “n” recognition-segments.

DETAIL DESCRIPTION

Although some of the following detailed embodiments are illustrated ordescribed in terms of audio or musical compositions, the disclosedconcepts and embodiments may be more generally applied to any type ofcomposition, digital-work or digital-content including recorded-music;music videos; multi-media; artwork; pictures; audio; sound; short films;movies; video clips; television programs; audio versions of books;talks; speeches; voice content; lectures; software; software plug-ins;and any other type of digital-work.

In general, where the word “composition” is used in the description,“digital-work” or “digital-content” may be substituted in its place.Where the words “playback-device” or “player” or “media-player” is usedin the description, “user-device” may be substituted in its place. Wherethe word “composition-provider” is used in the description,“digital-work-provider” or “digital-content-provider” may be substitutedin its place.

Problems with Prior Art Methods/Systems:

In prior art methods/systems, when the user is trying to locate acomposition by hearing it (e.g., trying to find a composition on adisk), the beginning of each composition is played back to the user. Ingeneral, the beginning of a composition is often significantly lessmemorable and distinguishable and is typically much less quicklyrecognized by a listener, compared with other parts of a composition.Consequently, it may take a listener many times longer to recognize thestart of the composition compared with another more recognizable sectionof the composition.

Distribution System:

FIG. 12 illustrates the functional flow between user-devices 22,composition providers 23, experience providers 26 and usage rightsauthorities 24 across one or more networks 27.

As shown in FIG. 12, there may be a plurality of possible users 21(user1, user2, . . . , user“z”). Each user may operate one or more userplayback devices 22 at different times and different locations. Thedevices a given user operates may be at many different locations, suchas at home(s), work(s), automobile(s), portable(s), etc. User-devicesmay also be incorporated into other products such as a cell phone,television or home entertainment system. The user-devices may be mobileand portable. Some devices (i.e., a personal player) may be used by onlya single individual user. Other devices (i.e., an automobile player) maybe operated by different individuals at different times. Theuser-devices may be manufactured by a many different vendors. Any givenuser-device may only be able to handle a limited number of the availablecomposition formats.

There may be many composition providers 23 that each provide their owncatalog of compositions for which they control the intellectual propertyrights. A composition provider may control the compositions for a singlecomposition creation entity [i.e., the creative artist(s) or group] ormany composition creation entities.

There may also be many different experience providers 26. An experienceprovider is responsible for providing the adoptive personalizedentertainment sequence that is customized for each user and isintegrated with the user's collection of compositions. The experienceprovider may automatically introduce the user to appropriate newcompositions over time and automatically adopt the personalized programsequence as a user's tastes change. The experience providerautomatically distributes the user's collection and also automaticallycollects and maintains the user's profile and history across all theuser's devices. The user's collection is made available to any devicethe specific user is operating.

There may also be one or more usage rights authority 24. The usage rightauthority or authorities utilize a common “standard for usage rightstokens” 25 so that a user's collection of compositions, represented bythe set of usage rights tokens a user acquires, may be recognized andusable with all experience providers. Each usage rights token is for useby only a specific individual user. The compositions in a user'scollection may be easily transferred between and used with any of theexperience providers. The listening rights authority may also maintain adatabase of all issued tokens so a user's collection (usage rightstokens) may be preserved even if all the devices of a user were to belost or damaged.

Portions of the network(s) 27 may be wired or wireless. A wirelessinterface between user-devices and the network may be preferred sincethe wireless connection may be established and maintained moreautomatically and with minimal user efforts.

Most users will typically utilize many different players at differentlocations throughout the day and from day-to-day such as in differentrooms of the home, at different homes, at different work locations, indifferent automobiles, or various portable devices. In addition, theremay be many devices that the user may only temporarily use, such asdevices located at a hotel, a rental home, a rental car, on loan from afriend, etc. It is desired that the user's history and profile beinteroperable and automatically synchronized between all these devicesso the user history collected at each device is available to all otheruser-devices. An experience provider may automatically perform therequired level of synchronization between all of the user's devices andstorage locations on the network(s).

In one embodiment, the user history and user profile information isstored redundantly at multiple locations distributed across anetwork(s), such as the internet, so that the user's information has ahigh availability (even if some network nodes/paths are down) and isrobustly protected from loss. Periodic back-up or archiving of theinformation may also be utilized to provide an additional protectionagainst loss of the user's information. In one embodiment, this storagefunction is provided by the experience provider. Alternatively, aseparate storage provider may provide storage, backup, archiving andprotection of the user's history and library on the network. In-order toprotect user privacy, user information stored on the network may bestored in an encrypted form for which the storage provider does not holdthe decryption keys. Encryption mechanisms may be utilized to keep auser's history private and not accessible to human prying.

Experience Providers:

An experience provider is responsible for providing the adoptivepersonalized music (or entertainment) program that is customized foreach user and is integrated with the user's collection of compositions.The experience provider may coordinate, any subset or all of, thefollowing functions automatically without requiring any significant useraction:

-   -   1) Provide a sequence of compositions, highlights and other        material that is customized for each user based upon the prior        history of user control actions and feedback.    -   2) Provide copies of compositions, highlights and other material        to all user-devices as needed.    -   3) Manage, store, backup and make available the user's        collection so that it is available to all the user's devices.        The user's collection may be represented by a set of user usage        rights tokens.    -   4) Manage, store, backup and update the user's history        (including control actions, feedback, play history, profile)        across all the user's devices in-order to adapt to the user's        changing tastes.    -   5) Recommend new compositions and highlights likely to be        appealing to each specific user. Automatically incorporate the        new compositions and highlights into the user's program sequence        and the user's collection.    -   6) Provide pre-customized channels for each user (representing        different categories, genre or moods of music) that may then be        further optimized for each user based on user control actions        and feedback.    -   7) Provide additional advertisements, news, or weather        presentations in the user's program stream that may be        customized for each user based on user control actions, feedback        or user profile.    -   8) Provide software updates for user-devices.    -   9) Obtain usage rights for compositions that are made available        to the user. Pay royalties to composition owners based on the        user's usage.    -   10) Bill users for composition purchases, usage and other        services.    -   11) Provide a “capture” mode capability to enable user's to        identify and later experience and evaluate a composition they        may be hearing from a non-user-device.    -   12) Provide a “share” mode capability to enable a user to share        a list of compositions with other users.

Although all of the above functions may be performed by the user'sexperience provider, the may performed by separate entities that may beunder the coordination of the user's experience provider. It isdesirable that the user have many experience providers to chose betweenand to be able to easily switch (with low switching costs) from oneexperience provider to another.

It may be desirable that the user's collection be easily transferablebetween experience providers. This may be accomplished with userusage-rights tokens that are issued by one or more listening rightauthorities that may be universally recognized by all experienceproviders. This eliminates problems with tokens issued by eachexperience provider but which may be not recognized by other experienceproviders and hence may be not transferable.

The experience provider's costs for the library storage and managementfunctions may be effectively amortized across a large number of users.All transfers of information between the experience providers repository(or depository) and the user-devices may occur automatically withoutrequiring any user knowledge or action. Concurrency of user data in thecurrently active user-device(s) and the repository occurs automaticallyacross the network without the user needing to be aware of it or takingany action.

Prior to a device shutting down, all the latest user feedback and userhistory may be forwarded to he network repository for later use by otheruser-devices. The device's user display may optionally include anindicator, that is activated during device shutdown, to indicate whetherconcurrency with the repository has been completed. Optionally, thedevice may include a automatic capability of periodically trying toestablish a network connection for upload in-order to completeconcurrency with the repository prior to concluding shutdown.

It is desirable that user-devices be able to operate with intermittentor temporarily unavailable network connections. When a networkconnection is not available, the user-device may utilize compositionsand highlights that were previously transferred to the local storage inthe device. New highlights and new compositions may be limited to whatwas locally stored during previous network connections. In addition,timely information such as news and weather may not be available whenthe network connection is lost.

News, weather, traffic, etc may also be customized for the user basedupon factors such as the day of week, time of day, or the location ofuser. Customization of weather and traffic reports to the day of weekand time of day. Reports may be automatically adapted to the currentphysical location of the user.

Since the entertainment program may be customized for each user,typically only one user program needs to be active at any one time. Insome cases, the user may want the same program to be available atmultiple locations, such as in multiple rooms in a house. The experienceprovider may impose limitations on the number of simultaneously activeuser-devices and/or the maximum physical separation of devices that maybe simultaneously active. The experience provider may monitor forviolations which may indicate piracy or identity theft by examining theuser history.

User-Device:

FIG. 13 is a functional diagram of a user-device for generating anadaptable personalized entertainment experience. The user-deviceincludes a “user control interface” 32 a for accepting user controlactions and for determining the individual user (and user ID). Theuser-device may include a “user display” 32 b for presenting visualinformation for the current composition or device status. Theuser-device also includes “sound generation” capabilities 32 c or aninterface to an external sound generation apparatus so the user may hearthe customized sequence of compositions and other program information.The user-device includes storage/memory 33 to hold information locallythat may include: 1) Compositions. 2) New recommendations list(s). 3)New compositions and highlights. 4) Usage rights (tokens). 5)Advertisements, news and/or weather. 6) User history 7) Device softwareand updates.

The “network interface” 31 receives information 34 from the experienceprovider and sends information 35 to the experience provider. Mosttransfers to and from the experience provider occur automaticallywithout requiring the user to specifically initiate them. Informationreceived 34 may include: 1) Favorite compositions. 2) Newrecommendations list(s). 3) New compositions and highlights. 4)Usage-rights tokens. 5) Ads, news and weather. 6) User history. 7)Software updates. 8) User feedback validation. Information sent 35 tothe experience provider may include the user's history and updates tothe user's history. User history and updates to user history mayinclude: 1) User profile information. 2) User control actions. 3) Userfeedback. 4) User playback history. 5) User content restrictions.

The user-device also includes a processor 30. The processor performs theuser functions such as 1) Sequence Generation. 2) User control action(feedback) capture. 3) User history capture and update. 4) Experienceprovider interface transfers.

User Interface:

The personalized player may be controlled by the user via numerous typesof user interfaces including voice activated, manual controls, touchscreens, interactive displays, remote control devices, etc.

FIGS. 4a and 4b show an example of a manual user interface for use wherethe user is within reach of the controls such as with a portable player,a remote control, or a player located in an automobile within reach ofthe driver. Such controls may be implemented with electrical-mechanicalcontrols such as push buttons, switches, sliders and knobs or withinteractive touch screen control. In another embodiment, the controls ofFIGS. 4a and 4b may also be accomplished with voice commands.

The “Favorites-New” slider 41 is used to vary the percentage of newcompositions that the user will hear. When the slider is at the“favorites” position (lowermost position) all compositions may beselected among those most highly liked by the user. When the slider ispositioned at the “new” position (uppermost position) the user is onlyexposed to new compositions he or she is not familiar with. The user mayadjust the “Favorites-New” slider position by activating (pressing) the“New” 42 a and “Favorites” 42 b controls or in an alternative embodimentby dragging the slider indicator 41 upward or downward. As the slider 41is positioned further away from “favorites” and closer to “new”, theuser will hear a greater percentage of new compositions and a lowerpercentage of favorites.

In another variation, highlight-snippets may be inserted at increasingfrequency as the position of the “Favorites-New” slider is closer to the“new” position.

As shown in FIGS. 4a and 4b , the device may include a display 40 toindicate information about the selected channel, composition beingplayed (artist, title, etc), playtime, device status, etc.

As shown in FIGS. 4a and 4b , the user-device may include typical usercontrols such as “pause” 42 e, “play” 42 d, “forward” (or “skip”) 42 c,“back” 42 f, and channel controls (43 a, 43 b, 43 c and 43 d).

Depending on the embodiment, the user-device may also include variousother navigation controls to navigate an ordering of compositions orrecognition-segments in one or more dimensions (1-dimensions;2-dimensions; 3-dimensions; etc) such as forward; back; up; down; left;right; in; out; etc. as described elsewhere in this specification.

In another optional enhancement, when a sequence of user commandsindicate user difficulty or frustration, the device may issuerecommendations to the user on how to better utilize the device'scapabilities. Such recommendations might be issued by voice synthesis oron the device display.

Identifying the Specific User:

Each user-device may determine the specific user that the entertainmentprogram will be customized for. In one embodiment, each time the deviceis re-started or powered-up the user may be re-determined so thatmultiple users may intermittently share the same device, yet experiencea customized program. Voice recognition of the user's voice or a uniqueverbal identifier or some combination of both may be used. Otherpossibilities include the recognition of the user via a camera imagetaken at startup, or various bio-metric sensing of the user such asfingerprint sensor on the “on” control or other device controls. Theinput microphone 47 (or other sound sensor) may be used for both voicerecognition and shared with other optional audio input modes and/orother device functions that utilize a microphone.

The device may also keep a list of prior user's so the identificationprocess may be defaulted or biased toward the most recent user(s). Fordevices that may be typically used by only a single user, the useridentity may be configured on initial use and not reconfigured unless areconfiguration is specifically requested by the user. It is preferredthat the user identification process require minimal or no specific useractions.

Accuracy in identification of the user is important to preventcorruption of both the user's usage-rights and user history due to useridentity errors, piracy or identity theft. Additionally, since theuser's history and usage-rights may be of considerable value to eachuser, user “identity theft” may be protected against. Methods foridentity recovery may be employed, so a user's history may be restoredto the state just prior to the occurrence of an identity theft. Softwaremay be utilized by the experience providers to monitor for unusualbehaviors that may be indicative of identity theft.

It is desirable to create a user experience so that it is in the user'sinterest to correctly identify themselves to the “system” and to protectthemselves against identity theft or the loaning of their identity toothers. User's will realize that the use of their identity by others,will corrupt their user feedback history and compromise their customizedprogram experience. By providing a customized experience and continuallyproviding new compositions that may be of high value to the user, userswill be naturally compelled to correctly identify themselves and avoidloaning their identity to others.

Besides the everyday user ID, a more hidden and secured user identitymay be maintained by the “system”. This allows the user to re-establisha new everyday ID if their everyday user ID becomes compromised.

Network Strategies:

It is expected that each user will have multiple user-devices that needto be updated such that any changes to the user's history and user'scollection (i.e., the user's library of compositions) is automaticallymade available, in a timely manner, to all the other user-devices wherethe user is active. For example, any changes made in the automobile onthe way home may be immediately available, in the ideal, to user-devicesin the user's home.

In one embodiment, each user-device 22 would be capable of establishingtwo way communication in-order to interact with the experience-provider26 over a wireless or wired connection to a network such as theinternet.

When the user-device 22 has sufficient storage, the user's favorites maybe stored locally and the general network strategy is to download themost likely needed compositions and highlights well in advance of actualneed by the user-device. Having storage in each user-device 22 is moreaccommodating to poor quality, intermittent, or missing networkconnections.

When a local user-device 22 has sufficient local storage, the networkinterface may be managed to minimize communication costs. For example,the largest downloads and uploads may be scheduled during those times(of the day or night or week) when the communication costs may be lower.For example, downloads of new compositions and highlights may occur,automatically without user action, in the middle of the night and thenstored within each user-device 22 for possible use during the followingdays. More information may be downloaded than is typically expected tobe needed, just so it will be available if needed. Since the typicaluser's tastes change slowly over a period of days, the locally storedcompositions and highlights will be fairly up-to-date; but anautomatically generated sequence of compositions may be less then idealwhen switching between user-devices (e.g., car to house), since the mostrecent user history would not be exchanged until later that night. Ifdesired, the less data intensive user history/feedback may becommunicated more frequently, while the more data intensive downloadsmay be restricted to lower cost communication times.

Another alternative is to broadcast and/or multicast the data intensiveinformation (compositions and highlights) to multiple userssimultaneously over the network. Prior to the broadcast or multicast,each user-device 22 receives an update on what new compositions andhighlights that user needs. The user-devices then monitor the broadcastor multicast, and save the appropriate data the user is expected toneed.

User-devices may also network directly with each other and/or over anetwork to pass update information.

In one embodiment, where networked access is not available in remotelocations, the update to the remote user-devices may be handled by aportable user-device carried from a networked area into the remote area.The portable user-device then networks with the remote user-devices toupdate them. Similarly, after leaving the remote area andre-establishing a network connection. The portable user-device mayupdate the repository with the user feedback that occurred in the remotearea. In this case, the user-devices may directly interact to shareinformation when they are within communication range with each other.Such direct communication may be accomplished by IR or RF means such asWiFi or Bluetooth.

Some embodiments may (optionally) employ/utilize streaming over anetwork connection such as the internet. With streaming, thepersonalized sequence is generated at the experience-provider's locationon the network 27 (e.g., internet server) and forwarded, wired and/orwirelessly, to the user-device as a stream of packets. The user-devicemay be simplified since it only need convert the packets into theentertainment sequence (e.g., sound sequence) and send the user'sfeedback back across the network 27 to the experience-provider.Streaming may reduce the needed amount of local storage and localprocessing in the user-device. In some embodiments, a small local memory(such as a FIFO or double buffer) is used in the local user-device toprovide a continuous sound stream on the output side, despitefluctuations in the receipt and processing of packets across the networkconnection. A possible disadvantage of streaming is that a virtuallycontinuous interactive network connection at an effective bandwidth mayneed to be available. Another possible major disadvantage is that thenetwork connection may need to have an acceptably low interactivelatency so the experience-provider's streaming source may quickly adjustto the user's feedback and control inputs (such as the “Forward” and“Back” controls). The need for a higher quality network connection to becontinuously available may make streaming a less desirable alternativefor some embodiments.

Hardware and Software Embodiments

FIG. 13 shows one embodiment of a user-device. In some embodiments, theuser-device may be made portable; mobile; and/or wearable.

The basic elements are the digital processor 30 and local storage memory33. The digital processor 30 incorporates and executes the processingprogram to process the composition data to generate a unique sequence ofsound samples. The memory 33 may hold composition data; software(program) code; and working storage.

The digital processor 30 may be implemented with any digital processinghardware such as Digital processors, Central Processing Units (CPU),Digital Signal Processors (DSP), state machines, controllers,micro-controllers, Integrated Circuits (IC's), Custom IntegratedCircuits, Application Specific Integrated Circuits (ASIC's),Programmable Logic Devices (PLD's), Complex Programmable Logic Devices(CPLD's), Field Programmable Gate Arrays (FPGA's), ElectronicRe-Programmable Gate-Arrays/Circuitry and any other type of digitallogic circuitry/memory.

If the processor is comprised of programmable-circuitry [e.g.,electronically re-configurable gate-array/circuitry], the processingprogram (or portions of the processing program) may be incorporated intothe downloadable digital logic configuration of the gate array(s).

In some embodiments, the digital processor may comprise a plurality ofprocessors in a multi-processing arrangement which may execute thesequences of instructions contained in memory 33.

The memory 33 may be implemented using random access memory (e.g., DRAM,SRAM), registers, register files, flip-flops, integrated circuit storageelements, and storage media such as disc, or even some combination ofthese. The memory 33 may include a non-volatile memory to store boot-updata and other data locally. The memory 33 may optionally include a harddrive or other mass storage device. Software code; processing programs;firmware; hardware configuration data; composition data and other datamay be stored in the memory 33.

The user-device may optionally include a media drive to allow bothcomposition data and processing programs to be read from media.

The user-device may optionally include a network interface 31 to allowaccess to the Internet, other networks or mobile type networks. Thiswould allow composition data and the corresponding processing programsto be downloaded across the Internet or other network(s).

Embodiments may include any combination of hardware circuitry andsoftware/firmware. In some embodiments, hard-wired circuitry and/orprogrammable-circuitry may be used in place of or in combination withsoftware instructions.

The processor software, machine-language executable instructions,machine-interpretable instructions, firmware, and/or theconfiguration-data base of electronically-configurable-circuitry: may bestored on/in one or more computer-readable medium/media, and/or one ormore digital storage memories.

Depending on the embodiment, the computer-readable medium may include:nonvolatile media, volatile media, and transmission media. Nonvolatilemedia include, for example, optical or magnetic disks, such as mediadrive 105. Volatile media include dynamic memory (e.g., DRAM).Transmission media include coaxial cables, copper wire, and fiberoptics, including the wires that comprise an interface/communicationsbus. Transmission media can also take the form of acoustic or lightwaves, such as those generated during radio frequency (RF) and infrared(IR) data communications.

In some embodiments, the computer-readable media may include: floppydisk, a flexible disk, hard disk, magnetic tape, any other type ofmagnetic medium; Compact Disk (CD), CD-ROM, CD-RAM, CD-R, CD-RW, DVD,DVD+-R, DVD+-RW, DVD-RAM, and any other type of optical medium; punchcards, paper tape, any other physical medium with patterns of holes;RAM, DRAM, SRAM, PROM, EPROM, EEPROM, Flash-memory, FLASH EPROM, and anyother type of memory chip/cartridge; or any other type of storage ormemory from which a processor/computer can obtain its digital contents.

Example of a Composition Finder Using Recognition-Snippets:

Another optional enhancement is the composition finder tool to aid theuser in finding a particular composition in a group of compositions byaudio sound. Associated with each composition is a shortrecognition-snippet (sound segment) which has been pre-selected as themost quickly recognized portion of the composition. Therecognition-snippet may be a separate sound segment (file) that is a fewseconds long, representing a highly distinguishable part of thecomposition. Alternatively, the recognition-snippet may be defined bystart and end pointers into the full composition itself. The choice ofthe highly recognizable portion(s) of each composition may be made bythe artists, experts, focus groups, or others. The recognition-snippetis expected to be different and shorter than the highlight-snippet.

The composition finder is useful whenever the user wants to locate aspecific composition in a group of compositions. Examples of groups ofcompositions where the composition finder may be used include:

-   -   1) A set of user favorites ordered from most favorite to least        favorite.    -   2) A set of recent plays ordered from most recent to least        recent.    -   3) A set of compositions by an artist (such as an album or        collective works). The set may be ordered by highest to lowest        estimated user likeability or another order, appropriate to the        user's request.    -   4) A set of compositions in a particular genre. The set may be        ordered by highest to lowest estimated user likeability or        another appropriate order.    -   5) A set of compositions resulting from a user initiated search.        The search results may be ordered from highest to lowest        probability of matching the user's request. The search request        my have been initiated by any means, including a user's verbal        (voice) request for a specific composition, where there may be        multiple compositions that match the request.

FIG. 5 shows a high level flow diagram for one embodiment. The firststep is to “create one or more recognition-segment for each composition”501. The next step is to “associate the recognition-segment or segmentswith each composition” 502. The next step is to “generate an ordering ofcompositions and their associated recognition-segments based onuser-device context/mode” 503. The next step is to “establish acurrent-location within the ordering of compositions based onuser-device context/mode” 504. The next step is to “play and navigatethe recognition-segments in response to user navigation control-actionsor inactions” 505. The next step is to “respond to user control-actionsto “act-upon” the composition associated with the currently active(e.g., playing) recognition-segment” 506. Depending on the embodiment,the currently active recognition-segment may be the currently playingrecognition-segment and/or the most recently played recognition-segment.

In some embodiments, only a subset of these steps may be performedand/or these steps may be performed in a different order. In someembodiments, these steps may be performed along with other steps oroptional steps.

Each of these steps, along with alternative approaches and optionalenhancements are detailed in the sections that follow.

Creation and Definition of a Recognition-Segment:

FIGS. 2a-2e show several of the many embodiments for creating anddefining a recognition-segment. In general a recognition-segment mayinclude a subset (e.g., a part or portion) of the full composition thatis chosen because it is quickly recognized by users as being associatedwith the composition. In general, recognition-segments may be designedand configured so that they will be quickly recognized (within afraction of a second to a few seconds) by those user(s) who are alreadyfamiliar with the composition (e.g., have previously heard thecomposition at least a certain number of times).

In some embodiments, a recognition segment is designed or configured sothat it will be recognized within a defined time, by some majority ofusers who are already familiar with the composition. For example,greater than 50% or 75% or 80% of the users, who are already familiarwith the composition, will recognize it within 0.5 seconds, 0.75 secondsor 1 second or 1.5 seconds or 2 seconds. In some embodiments, users thatare determined to not have a sufficient level of familiarity (e.g., havenot previously heard the composition at least a certain number of times)with a composition, may be excluded from the statistics.

The portion(s) or part(s) of the composition chosen for arecognition-segment may be defined by the composition creator(s),expert(s) and/or focus group(s). For example, the creator(s) orexpert(s) many define multiple possible recognition-segments which maythen be played to groups of representative users in a test settingrepresentative of a particular user-device context/mode. For example,“A” versus “B” testing may be used. Or as another example, “A” versus“B” versus “C” versus . . . testing may be used. Based on the measuredrecognition times by the users during testing, the best segment may bechosen for use as a recognition-segment for the composition in thatuser-device context.

In some embodiments, different potential/prospectiverecognition-segments may be sample tested with a subset of users (e.g.,a sample group of users). In some embodiments, a plurality of differentrecognition-segments that may be tested/compared for theirrecognition-times by sample sized groups of users during the normalusage of their user-devices. The recognition-segments may be sampletested in any of the applications of recognition-segments which aredescribed elsewhere in this specification.

In one embodiment, a prospective new recognition-segments (e.g., perhapscreated by an expert or artist) may be distributed and tested on a groupof users (e.g., a sample sized group of users). The recognition-times ofthe users in the test group may be captured (during the normaluser-device operation) as part of normal user-device feedback andcollected by the system for analysis. The recognition-times during thetests may then be analyzed and compared with other recognition-segmentsfor the same composition. The recognition-segment that was recognizedthe soonest (e.g., had the shortest recognition time) may be selected asthe recognition-segment that is used for most/all users.

In one embodiment, the recognition-segment that had the lowest mean ormedian recognition time is selected for use as the recognition-segmentfor most/all users.

In another embodiment, the recognition-segment with a low/lowest meanvalue and small variation across all the measured recognition-timevalues, is selected as recognition-segment that is used for most/allusers. The variation of the measured recognition-times may be analyzedand tested using statistical methods which are known by those skilled inthe art. For example, a standard deviation of the measured values may becalculated and evaluated for an acceptable variation across users. Inthis way, a recognition-segment may be identified that has a shorterrecognition-time than the other tested or previously usedrecognition-segments.

In one embodiment, a user group A may be sample tested withrecognition-segment 1. While user group B (a different set of users) maybe sample tested with recognition-segment 2. The actual measuredrecognition-times that were measured with each group may then beanalyzed to select the “best” recognition-segment that will be used forall/most users. Of course, many different recognition-segments may betested for each composition to determine the best one to use withall/most users. Alternatively, user group A may be sample tested withrecognition-segment 1 and at a different un-related later time alsosample tested with recognition-segment 2.

It is desirable that the selected recognition-segments be substantiallyimmediately recognized by those users that have previously experienced acomposition. For example, the recognition-segments may betested/verified to have a mean or median recognition-time that is lessthan 0.5 seconds; less than 1 second; less than 2 seconds; or less than3 seconds, by a user or certain/defined fraction of a group of users(that have previously experienced a composition).

In some embodiments, the length of a recognition-segment may be chosenso that a high percentage of users (e.g., most users that havepreviously experienced a composition) will recognize the compositionbefore the end of the recognition-segment has finished being played.That is, further increasing the duration of the recognition-segment maynot significantly increase the percentage of users that will end uprecognizing the composition.

For example, a recognition segment may be defined/selected that will berecognized on average by a group of users in less than 1 second, andhigh percentage of the group of users (e.g., say more than 99%) willrecognize the composition within the recognition-segment length (e.g.,playback time duration) of the recognition-segment (say 5 seconds). Forexample, more than 99% of users (that have previously experienced thecomposition) will have recognized the composition with arecognition-segment length of 5 seconds. Hence, recognition segments maybe defined/selected so that a high percentage of users (for example 90%,or 95%, or 99% or 99.9%) of the users will recognize therecognition-segment with a defined/selected recognition-segmentlength/duration (e.g., say 3 seconds, or 4 seconds, or 5 seconds) whenthose users have previously experienced (e.g., heard) the composition,more than number of times or a certain amount.

Those familiar with the art will recognize that a sound-segment may alsobe defined as a multi-track definition such as stereo channels, quadchannels, 5.1 surround sound or other multi-channel audiorepresentations.

A recognition-segment may be defined as an audio segment 204 including amulti-channel audio segment. The recognition-segment may be defined in aseparate audio file from the composition 201. For example, therecognition-segment may contain a copy of analog or digital soundsamples for the selected portion of the composition.

The recognition-segments may be optionally compressed to reduce theirstorage and/or transmission capacity and then decompressed beforeplayback to the user.

Alternatively, the recognition-segment may be may be defined by apointer 202 to the start of the recognition-segment within the fullcomposition 201, along with a duration of the recognition-segment 203.In this case, the analog or digital sound samples may be obtained duringplayback by accessing a pre-defined portion of the composition.

Concatenation of a Plurality of Segments from the Same Composition:

In some embodiments as shown in FIGS. 2a and 2b , therecognition-segment may be defined as a concatenation of a plurality ofsegments that are from different parts of the same composition. Forexample, in FIG. 2b , concatenated-recognition-segment 216 may be aconcatenation of segment 204 and segment 214.

In some embodiments, a concatenated-recognition-segment mayalternatively be defined as a chain or linked-list by using a pointer212 and segment duration 213 for each following concatenated segment inthe chain. In some embodiments, a start symbol and anend-of-concatenation symbol may be used denote the end of segmentconcatenation.

Including Other Audio Information into a Recognition-Segment:

In some embodiments as shown in FIGS. 2a and 2c , a recognition-segmentmay also be defined as a mix (e.g., addition together) of two (or more)audio tracks. As an example, one track may be a recognizable portion ofthe composition 204 which is mixed with a second track 221 that containsadditional audio information that a user may recognize. The relativeamplitudes of the tracks may be adjusted prior to mixing, in-orderobtain the desired combined effect. For example, the second track may bean audio description of the composition title and artist. Duringplayback of the mixed-recognition-segment 223, the user willsimultaneously hear the descriptive information 221 overlaid on arecognizable portion of the composition 204. In some situations (e.g.,contexts or modes), a mixed-recognition-segment may be more quicklyrecognized by users than just a portion of the composition by itself.

Overlying a Plurality of Segments from the Same Composition:

In some embodiments, sound-segments from a plurality of differentparts/locations of the same composition may be simultaneously playedback to a user at the same time. The user may be able to recognize manyof the individual sound-segments that are simultaneously playing back atthe same time. By simultaneously playing back at the same time, aplurality of different sound-segments from the same composition, a usermay be able to more quickly recognize and find a composition that theyare “looking for”. For example, this may be useful for compositions thathave multiple different sections/parts that a user(s) may recognize asbeing associated with the composition. This may allow a user tosimultaneously hear and recognize these different sections/parts at thesame time, thereby saving time; in comparison to playing a plurality ofsections/parts one after another in time (e.g., a concatenation ofsound-segments from the same composition).

In some embodiments, a recognition-segment may be defined as anoverlaying and mixing (e.g., addition together) of a plurality (i.e.,two or more) audio tracks that are from different parts of the samecomposition, so that a plurality of different parts of the samecomposition may be simultaneously played back at the same time. As anexample, as shown in FIGS. 2a and 2d , one track 204 may be arecognizable portion of the composition 201; which is overlaid and mixedwith a second track 214 which may be a different recognizable portion ofthe same composition 201; to create a mixed recognition-segment 279.Simultaneously playing back a plurality of different parts of the samecomposition at the same time; may allow a user(s) to more quicklyrecognize a composition.

During playback of the mixed-recognition-segment 279, the user maysimultaneously hear a plurality of different recognizable portions (204and 214) of the composition 201 at the same time. The relativeamplitudes of the tracks may be adjusted prior to mixing, in-orderobtain the desired combined effect. The time-phasing of the starts ofthe plurality of tracks and/or their relative amplitudes that arecombined may be configured before mixing (e.g., addition together), sothat a user is able to more easily recognize each of therecognition-segments when they are overlapped together. In somesituations (e.g., contexts or modes), a mixed-recognition-segment of aplurality of portions (e.g., 204 and 214) of a composition 201 may bemore quickly recognized by users than just a single portion (e.g., 204)of the composition by itself.

In some embodiments as shown in FIGS. 2a and 2e , a recognition-segmentmay be defined as a mix (e.g., addition together) of a plurality (i.e.,two or more) audio tracks that are from different parts (e.g., 204 and214) of the composition 201 and another track 221 that containsadditional audio information; that a user may recognize. As an example,track 204 may be a recognizable portion of the composition 201; andtrack 214 may be another recognizable portion of the composition 201;and track 221 may verbally indicate information about the composition(e.g., an audio description of the composition title and artist). Therelative amplitudes of the tracks may be adjusted prior to mixing,in-order obtain the desired combined effect. In this embodiment, duringplayback of the mixed-recognition-segment 279, the user willsimultaneously hear a plurality of different recognizable portions (204and 214) of the composition 201 at the same time. The time-phasing ofthe starts of the plurality of tracks and/or their relative amplitudesthat are combined may be configured before mixing (e.g., additiontogether) so that a user is able to more easily recognize each of therecognition-segments when they are overlapped together.

In some embodiments, the mixed recognition-segments may be overlaid andmixed together to generate a fixed recognition segment. A differentmixed recognition-segment may be generated for each of the differentnumbers of overlapping segments. That is, there may be a different mixedrecognition-segment for two overlapped segments; a different mixedrecognition-segment for three mixed overlapped segments; a differentmixed recognition-segment for four overlapped segments, etc.

In an alternative embodiment, the mixed overlapped recognition-segmentsmay be dynamically generated prior to use, by overlaying and mixedsegments that are defined by pointers and segment lengths. To minimizethe delay to the start of a mixed overlapped recognition-segment, themixed recognition-segments may be dynamically created immediately afterthe ordering of compositions is established/known.

In another (optional) embodiment, the simultaneous playback (at the sametime) of a plurality of sound-segments from different sections/parts ofthe same composition, may be divided between two or more sound channels.For example, one recognition-segment from a composition may be playedonly in a stereo right channel, while a different recognition-segmentfrom another location/section of the same composition may be played onlyin the stereo left channel. For example, referring to FIGS. 2a , onetrack 204 may be a recognizable portion of the composition 201 may beplayed back only on the right channel; while a second track 214 whichmay be a different recognizable portion of the same composition 201 maybe played back only in the left channel. More generally, by distributinga plurality of the sound-segments differently in volume and/or acrossthe available sound-emitters (e.g., speakers or headphones); eachdifferent sound-segment from the same composition, may be made to appearto be occurring at a different location or origination from a differentdirection in the space around the user. By configuring eachsound-segment so that each appears to occur to come from a differentdirection and/or appears to be located at a different location in space,a user may more identify the simultaneously playing sound-segments for acomposition that they are trying to find.

Additional Design Considerations for Recognition-Segments:

In general, any combinations of the above methods of concatenatingand/or mixing together overlaid segments (e.g., sound segments), may beused to create or generate recognition-segments.

In some cases, a recognition-segment may not contain a portion of acomposition. For example, the recognition-segment may verbally state thecomposition's title, artist and/or other information related to thecomposition.

Information sound segments may also be optionally used to verballyinform the user that the user-device is performing certain requestedactions or operating in a certain requested mode. For example, a soundsegment may verbally state the current user-device context or operatingmode or start/end of a operational mode.

In some embodiments, a certain short sound segment (e.g., beep1 orclick1) may always be played to indicate to the user that arecognition-segment is starting and a different sound segment (e.g.,beep2 or click2) may always be played to indicate that a fullcomposition is starting. In some embodiments, ending sound segments(e.g., beep3 or click3) may be used to indicate the end of arecognition-segment or a recognition-segment mode of operation.

Those skilled in the art will also recognize that recognition-segmentsmay be defined using software objects compatible with object orientedprogramming methods.

Association of Recognition-Segments to Compositions:

The actual recognition-segments and compositions may be referenced bypointers, links or hyperlinks to their identity and/or location. Theymay also be identified using universal resource locators (URL's) or auniversal object identifier.

Each recognition-segment or composition may be a separate file or groupof files. Alternatively, each recognition-segment or composition may beimplemented as an object or a group of objects compatible with objectoriented programming.

FIG. 3 illustrates an example of the association of arecognition-segment with each composition and an ordering ofcompositions.

In FIG. 3, a recognition-segment is associated with each compositionthrough the use of a table 300. Those skilled in the art will recognizemany alternative ways of specifying the association between eachrecognition-segment and associated composition including databases,pointers or linked-lists.

The association may also be established using a standardized namingconvention (for files, pointers, links, etc). For example the “name” fora recognition-segment may be the same as the composition except for auniform prefix/suffix which is added to define the recognition-segment's“handle”. For example, as shown in FIG. 3, the prefix “RA” may always beappended to the composition's “handle” 305 to define the “handle” of arecognition-segment of type “A” 306.

Each composition may have one or more recognition-segments (i.e., types)associated with it. For example, a simple recognition-segment 204 may bemore useful for some situations, while a mixed-recognition-segment 223or concatenated-recognition-segment 216 may be more useful for othercases. For one user-device mode, a specific type of recognition-segment(e.g., 204) may always be used, while for another user-device modeanother type of recognition-segment (e.g., 223) may always be used. Insome cases, the user may be given an option to select the type ofrecognition-segment they prefer for a given mode or situation (e.g.,with or without composition title/artist mixed with a portion of thecomposition).

If the composition had additional types of recognition-segmentsassociated with it, their “handles” may utilize a different standardprefix/suffix (e.g., “RB” and “RE”) and an additional column may addedto table 300 for each additional recognition-segment type.

In some embodiments, the information in table 300 is used for backgroundprocessing. The user is not presented with and does not need to see anyof the information in table 300.

In an optional embodiment, the user-device may include a user display415 so the user may see information (e.g., title/artist) as well as anindicator (e.g., highlighting) of the current-location 301 in theordering and which recognition-segment or composition is currentlyactive.

Ordering of Compositions:

Different user-devices may have different modes and/or operationalcontexts. Based on user control-actions, a given user-device may switchbetween several different operating modes and/or contexts. In general,the order of compositions may be determined by the current mode oroperating context of the user-device.

In the embodiment shown in FIG. 3, the ordering 304 of compositions in atable 300 may correspond to an ordered set of compositions defined by acurrent user context.

Examples of ordering for different applications and differentuser-device modes and/or contexts include:

-   -   1) For a disk player user-device (e.g., Compact Disk Player),        the order of compositions may be the same order (composition        number “1” to “n”) that the compositions may be defined on the        album (or media) the user has selected.    -   2) For a device that maintains a history of recent plays, the        ordering may be from most recent to least recent composition        played.    -   3) For a set of compositions by an artist (such as an album or        collective works). The set may be ordered by highest to lowest        estimated user likeability or another order, appropriate to the        user's request.    -   4) For a user-device that maintains a listing of user favorites,        the ordering may be in order of user ratings (i.e., from most        favorite to least favorite).    -   5) For a user-device that generates a user customized stream of        compositions (for example, based on user feedback about likes        and dislikes), the ordering may be the order the compositions        were (or will be) played in.    -   6) For a user-device that can search a library of compositions        based on user criteria and generate a list of possible matching        compositions, the ordering of compositions (search results) may        be from the highest probability to the lowest probability of        matching the user's request.    -   7) For a user-device that accepts user commands and requests,        there may be multiple compositions that may meet the request.        The order of compositions may be from the highest probability to        the lowest probability of matching the user's request. For        example, the user makes a verbal request for a particular        composition by name but there may be multiple compositions that        match the request. The order of compositions may be from most        likely to least likely to satisfy the particular user's request.    -   8) For a set of compositions unknown to a user, the ordering may        be from highest to lowest estimated user likeability, based on        an analysis of other compositions already known by the user.    -   9) For a user-device (such as an Apple iPod) that plays        compositions based on a playlist or playlists, the order of        compositions may be the playlist playback order; alphabetical        order; artist order; etc.

Current-Location within an Ordering:

The current-location within an ordering may designate the currentlyactive recognition-segment. Depending on the embodiment, the currentlyactive recognition-segment may be the currently playingrecognition-segment (or composition) and/or the most recently playedrecognition-segment (or composition).

The initial current-location is dependent on the user-devicecontext/mode. For some applications/contexts/modes, the initialcurrent-location may be the recognition-segment associated with thefirst composition in the ordering.

For other applications/contexts/modes, the initial current-location maybe the recognition-segment associated with another composition somewhereelse in the ordering. For example, a user-device that allows navigationinto both the past and future of a stream/sequence of compositions, theinitial current-location may be at the composition currently playing inthe stream/sequence.

The current-location (e.g., currently active recognition-segment) maychange as a result of each user navigation control-action or as a resultof certain types of user inaction.

The “current-location within the ordering” 301 may be defined insoftware by a pointer (in FIG. 3), variable, variable link, variablehyperlink or object. The current-location may also distinguish betweenwhether the composition or one of its associated recognition-segment(s)is currently playing. Those skilled in the art will recognize many othermethods of defining a current-location in an ordering of compositionsand associated recognition-segments.

In some embodiments, the current-location (and user-device context) mayalso be synchronized with and shown on a user-device display 415 forpossible viewing by the user. The current-location may be highlighted onthe screen/display and the highlighting may change synchronously withcurrent-location changes. FIGS. 7, 9 and 10 (and their descriptions)show example embodiments where the current-location may be displayed ona user-device.

Navigating an Ordering of Recognition-Segments:

When a user navigates an ordering of compositions, the current-locationin the ordering of compositions may change to another composition (oritem) in the ordering. For example, in an ordering that is a simplelisting, navigation may be in the up or down directions; and thecurrent-location may be moved by navigating to another composition thatis either up or down from the previous current-location. For example, inan ordering that is a two dimensional table, navigation may be both theup and down direction as well as in the right or left directions. Forexample, another ordering may be in 3 (or more) dimensions andnavigation may be in the any combination of those dimensions.

The many possible ways that a user may navigate though an ordering ofcompositions (e.g., songs or items) include:

-   -   Using the “forward” and/or “back” controls on a user device. See        FIG. 4 a.    -   Using the “up” and/or “down” (or “left” or “right”) directional        arrows on a keyboard.    -   Using a pointing device to select “up” or “down” icons or any        other navigation icons or control(s).    -   Using physical control button or knobs.    -   Using a menu with navigation commands.    -   Using a pointing device to moving a cursor over a composition in        an ordering and then selecting (e.g., mouse “clicking”) on a        composition.    -   Using a pointing device to moving a cursor over a composition in        an ordering (recognition-segment plays back on cursor        roll-over).    -   Moving a finger on a ‘click-wheel” (e.g., Apple iPod). Moving a        finger in the clockwise direction around a “click-wheel” of an        Apple iPod.    -   Swiping or sliding a finger in a certain direction(s) on a touch        screen or multi-touch technology display. For example, swiping a        finger downward on a touch sensitive display (e.g., touch screen        or multi-touch display).    -   Navigation gestures by a user in front of a gesture recognition        device (e.g., Microsoft Kinect). For example, specific arm,        hand, eye or other body configurations or movements are        recognized as a command(s).    -   Voice commands (e.g., “move down”; “move down one”).

FIG. 1 is a flow diagram illustrating the navigation ofrecognition-segments and the acting-upon the composition associated witha currently “active” (e.g., currently playing or most recently played)recognition-segment. For illustration purposes, the following discussionof FIG. 1 assumes a user-device similar to that shown in FIGS. 4a-4b ;but the concepts apply in a similar manner, for navigation via thenavigation controls available at any other user-device(s).

The upper part of FIG. 1 is an example flow diagram for navigating anordering of recognition-segments.

The navigation of the ordering of recognition-segments starts with“begin play of the recognition-segment at the initial current-location”100.

If the user activates the “forward” control 101, the user-device may“begin play of the next recognition-segment” 102 in the ordering ofrecognition-segments.

If the user activates the “back” control 103, the user-device may “beginplay of the prior recognition-segment” 104 in the ordering ofrecognition-segments.

If the user “activates another navigation control” 111, the user-devicemay take action to move (in a defined way) within the ordering ofrecognition-segments. Such other navigation control actions 111 mayinclude moving to the beginning or end of the ordering or movinghorizontally to another column of recognition-segments (e.g., see FIG.7). In some optional embodiments, such other navigation control actions111 may include actions that may alter the ordering ofrecognition-segments.

If the user “activates an “act-upon“command” 105 while arecognition-segment is playing (i.e., “active”), the user-device may“act-upon the composition that is associated with the currently active(e.g., playing) recognition-segment” 106. Examples of “act-upon”commands include “play” 402 and commands to “add” or “remove” or “move”or “cut” or “copy” or “paste” or “arrange” or “order” (or in general,any type of action that can be taken on a composition) a composition ina playlist.

If the user has not activated an act-upon command by the time the“recognition-segment has finished playing” 107, the user-device mayautomatically “begin play of the next recognition-segment” 102 in theordering of recognition-segments.

In another alternative embodiment 115 shown by the dotted line in FIG.1, if the user has not activated an “act-upon” command by the time the“recognition-segment has finished playing” 107, the user-device may“act-upon the composition that is associated with the currently active(e.g., playing) recognition-segment” 106. [In some other alternativeembodiments, if the user has not activated an act-upon command by thetime the “recognition-segment has finished playing” 107, the user-devicemay stop the playback of recognition-segments and wait for a user actionthat either: acts-upon that associated composition or a user navigationaction that changes the current-location to another composition.]

In some embodiments, the user-device(s) may not have a visual display.The user may still navigate the ordering of compositions by usingnavigation controls such as forward, back, up, down, right, left, etc.

In some embodiments with a display(s), a unique icon and/ortext/symbol/image may represent each composition in an ordering ofcompositions.

In some other embodiments with a display(s), for each composition in anordering, one or more unique icon(s) and/or text/symbol(s)/image(s) mayrepresent a recognition-segment that is associated with a composition.In some embodiments, a plurality (two or more) of recognition-segmentsmay be associated with each composition in an ordering.

In some embodiments, the ordering of compositions and/orrecognition-segments may be 2-dimensions; 3-dimensions; or even higherdimensions (4, 5, etc). As an example of a 2-dimensional ordering, anordering of recognition-segments may include a plurality of columns anda plurality of rows of different types of recognition-segments. In someembodiments, each column (and/or row) may hold/display an icon and/ortext/symbol/image representing different types of recognition-segment.

In the example shown in the playlist build/review application discussedelsewhere (see FIG. 7), there may be 3 columns of recognition-segmentsrepresenting the beginning, middle (highly recognizable) and endingrecognition-segments for each composition.

There may be additional navigation commands to allow navigation in2-dimensions, 3-dimensions and/or higher dimensions of an ordering. Forexample, for a 2-dimensional ordering displayed as a table, there may benavigation controls/actions that allow movement through an ordering inthe vertical and/or horizontal dimensions of the table.

User-Device Controls & Control Actions:

FIGS. 4a and 4b illustrate some embodiments of a user-device 400. Asshow in FIGS. 4a and 4b , the controls that a user may activate include:

-   -   1) A “Forward” control 401 to indicate a desire to move (i.e.,        navigation control) to the next composition (or        recognition-segment) in the ordering or sequence of        compositions.    -   2) A “Back” control 404 to indicate a desire to move (i.e.,        navigation control) to the previous composition (or        recognition-segment) in the ordering or sequence of        compositions.    -   3) A “Pause” control 403 to indicate a desire to interrupt play        of the current audio output, with the ability to continue from        the “pause” location when requested by user action at a later        time.    -   4) A “Play” control 402 to indicate a desire to a) continue play        of a composition that was “paused” or b) to start play at        composition associated with the currently “active” (e.g.,        playing) recognition-segment in the ordering or sequence of        compositions. The “play” control is an example of a user control        that “acts-upon” a composition. In other embodiments, other        types of user controls that may “act-upon” the        associated-composition may be used.

The user-device 400 may also contain an integrated on/off and volumecontrol 405 as well as other controls useful or typically found in anaudio device.

The user-device may also contain a display 415 that provides additionalinformation 417 in a visual form to the user about the current playingcomposition such as song title, album title, artist name(s), andpublisher & publication date. The display 415 may also indicate calendardate and time of day 418.

The display 415 may also include a visual indication 416 of whether arecognition-segment or the actual full composition is playing.

As shown in FIGS. 4a and 4b , the display 415 may indicate for eachcomposition or recognition-segment; the“playback_time_completed/composition_time_duration”. The“playback_time_completed/composition_time_duration” (429 and 419) may beshown in a “ratio” (e.g., “A”/“B”) format. Showing these two numbers asa ratio (e.g., “A/B”) and with a resolution in seconds; provides veryuseful intuitive information to the user. The ratio provides the userwith an indication of the current playback location as a fraction of thewhole. The incrementing in seconds provides the user with an indicationthat the playback-device is operating normally (and is not hung-up dueto a problem or waiting for data to be received). Showing the “playbacktime completed” in seconds also allows a user to refer-to or go to aparticular location in the composition.

As shown in the example of FIG. 4a , the ratio format (429) of“0:23/3:33” indicates that 0 minutes and 23 seconds of playback has beencompleted of a 3 minute and 33 second long composition. That is thecomposition has a “time_duration” of 3 minutes and 33 seconds. And thecurrent playback location is 0 minutes and 23 seconds from the start ofthe composition.

As shown in the example of FIG. 4b , the ratio format (419) of“0:03/0:05” indicates that 3 seconds of playback has been completed of a0 minute and 5 second long recognition-segment. That is therecognition-segment has a “time_duration” of 0 minutes and 5 seconds.And the current playback location is 0 minutes and 3 seconds from thestart of the recognition-segment.

There are many other formats known to those skilled in the art, may beused. For example, the “playback time completed” and“composition_time_duration” may each be displayed with a resolution of“seconds” or “minutes: seconds” or “hours:minutes:seconds”.

Another parameter: “playback_time_of_remaining_portion_of_composition”may also be used in some embodiments [which would be displayed as “3:10”(e.g., =3:33-0:23) if it were used in the example shown in FIG. 4a ].

Those skilled in the art will recognize that there are many alternativeembodiments of the user-device controls that may be implemented withoutusing actual physical switches and/or physical controls. Suchalternatives include 1) a display along with a pointing device (e.g.,mouse or touch pad) 2) an interactive touch screen 3) voice commandrecognition or 4) body-movement command recognition (e.g., recognizespecific arm, hand, eye or other body movements as a command). Forexample, in voice command recognition, the user may speak word(s) ormake sound(s) that represent “forward”, “back”, “play” or “pause” andthese may be then recognized by the user-device as a request for thespecific control action.

Minimizing Recognition-Segment Playback Delays:

In some embodiments, it is preferable that the user not experience anydelay in starting the playback of each recognition-segment; experience acontinuous (e.g., non-interrupted) playback of each recognition-segment;and experience a substantially immediate transition from onerecognition-segment to another; and when the user changes thecurrent-location, for the user to experience an immediate start of thenext recognition-segment. In some embodiments, the complete ordering andall the recognition-segments associated with the compositions in theordering may be made available well before possible need/use at theuser-device. In some embodiments, the complete ordering and all therecognition-segments associated with the compositions in the orderingmay be transferred across a network(s) [e.g., local or Internet] andstored in memory at the user-device, immediately after the ordering ofcompositions has been determined; and implemented so that the user willnot experience delays due to network latencies. The ordering ofcompositions and recognition-segments may be cached and/or pre-loadedinto memory at the user-device so that the recognition-segment playbackappears to be substantially instantaneous to the user. This is importantin embodiments, where the user(s) may recognize a recognition-segment ina fraction of a second (e.g., less than 0.5 seconds or less than 1second).

Simultaneous Playback of a Plurality of Recognition-Segments fromDifferent Compositions:

In other embodiments, recognition-segments from a plurality ofcompositions that are at and are adjacent to the current-location withinan ordering, may be simultaneously played back to the user at the sametime. The user may be able to recognize an individualrecognition-segment that is simultaneously playing with otherrecognition-segments from different compositions. Simultaneously playingback a plurality (e.g., “n”) of recognition-segments at the same time,may enable a user to more quickly recognize and find a composition thatthey are “looking for”.

In some of these embodiments, in a two step process, a user may firstrecognize that a recognition-segment of a composition they are “lookingfor” is among the “n” (where “n”=2, 3, 4, 5, 6, . . . )recognition-segments that are simultaneously being played back at thesame time. Then, a user may find the specific recognition-segment thatthey are “looking for”, among the “n” recognition-segments that weresimultaneously being played back at the same time.

When a user is simultaneously hearing multiple recognition-segments atthe same time, the user may move or step the current-location morequickly through the ordering of compositions. For example, when “n”recognition-segments are simultaneously played back, the user may movethe current-location by more than 1 step at a time. For example, when 4recognition-segments are simultaneously being played back (“n”=4), theuser may jump the current-location in the ordering by 2, 3 or 4 (i.e.,up to “n”) positions in the ordering of the compositions, and may stillnot miss hearing any compositions in the ordering of compositions.

In some embodiments, the recognition-segment and otherrecognition-segments that are after the current-location in the orderingmay also simultaneously played back at the same time. This may providean easy way for the user to also simultaneously “recognize” therecognition-segments that are ahead (i.e., coming-up) in the ordering;and hence more quickly locate the composition, they are “looking for”among “n” recognition-segments that were simultaneously being playedback at the same time.

FIG. 15 shows an example of simultaneously playing back a combination of“n” recognition-segments for the example ordering of compositions thatwas shown in FIG. 3 when the current location 1501 is to be at “j”). Inthis example, recognition segments from 4 (i.e., “n”=4) differentcompositions, will be simultaneously played back at the same time. Inthis example, a user may hear a combination of recognition-segments1551; which is a combination of recognition-segment 1513 from thecomposition at the current-location (j) in the ordering andrecognition-segments (1514, 1515, 1516) from the next 3 compositions(“j+l”, “j+2”, “j+2”) in the ordering. In some embodiments, prior tocombining (1541) the recognition segments, the volume of eachrecognition-segment may be adjusted (e.g., scaled) by volume scalefactors (1531, 1532, 1533, 1534), as discussed elsewhere in thisspecification. In some embodiments, this may be used when the user isnavigating downward through the pictured ordering of compositions (bymoving the current-location in the direction of higher “j” values in theordering); so the user may hear at a lower volume, some of therecognition-segments that are “coming up” in the ordering of thecompositions.

FIG. 16 shows an example combination of recognition-segments after thecurrent-location 1601 has been moved forward by 1, from location “j”shown in FIG. 15, to “location “j+1” in the ordering. In this example,recognition segments from 4 (i.e., “n”=4) different compositions, willbe simultaneously played back at the same time. In this example, a usermay hear a combination of recognition-segments (1651); which is acombination of recognition-segment 1514 from the composition at thecurrent-location (j+1) in the ordering and recognition-segments (1515,1516, 1517) from the next 3 compositions (“j+2”, “j+3”, “j+4”) in theordering. In some embodiments, prior to combining (1641) the recognitionsegments, the volume of each recognition-segment may be adjusted (e.g.,scaled) by the same volume scale factors (1531, 1532, 1533, 1534) asused in FIG. 15, as discussed elsewhere in this specification.

FIG. 17 shows an example of simultaneously playing back a combination of“n” recognition-segments for the example ordering of compositions thatwas shown in FIG. 3, except that the current-location 1701 is assumed tobe currently at “j+3”. In this example, recognition segments from 3(i.e., “n”=3) different compositions, will be simultaneously played backat the same time. In this example, a user may hear a combination ofrecognition-segments 1751; which is a combination of recognition-segment1516 from the composition at the current-location (j+3) in the orderingand recognition-segments (1515 and 1514) from the earlier compositions(“j+2”, and “j+l”) in the ordering. In some embodiments, prior tocombining (1741) the recognition segments, the volume of eachrecognition-segment may be adjusted (e.g., scaled) by volume scalefactors (1731, 1732, 1733), as discussed elsewhere in thisspecification. In some embodiments, this may be used when the user isnavigating upward through the pictured ordering of compositions, bymoving the current-location upward (in the direction of lower “j” valuesin the ordering); so the user may hear at a lower volume, some of therecognition-segments that are “coming up” as the user moves upward inthe ordering of compositions.

FIG. 8 shows an example of simultaneously playing back a combination of“n” recognition-segments for the example ordering of compositions thatwas shown in FIG. 3, when the current location 1801 is at “j+2”. In thisexample, recognition segments from 5 (i.e., “n”=5) differentcompositions, will be simultaneously played back at the same time. Inthis example, a user may hear a combination of recognition-segments1851; which is a combination of recognition-segment 1515 from thecomposition at the current-location (j+2) in the ordering andrecognition-segments (1513, 1514, 1516, 1517) from the compositions(“j”, “j+1”, “j+3”, “j+4”) both before and after, the current-location1801 in the ordering. In some embodiments, prior to combining (1841) therecognition segments, the volume of each recognition-segment may beadjusted (e.g., scaled) by volume scale factors (1831, 1832, 1833, 1834,1835), as discussed elsewhere in this specification.

Over time, (through use and experience), a user may increase their skillat finding the recognition-segment they are looking for among aplurality of recognition-segments that are simultaneously being playedback at the same time. As a user's skill increases, a user may desirethat the number (i.e., “n”) of simultaneously playingrecognition-segments be increased, so that the user is able to morequickly find a composition they are looking for.

Simultaneous Playback of a Plurality of Recognition-Segments atDifferent Loudness Levels:

In some embodiments, the playback volume of the recognition-segment atthe current-location in the ordering of compositions, may be adjusted tobe distinguishably louder than all the other recognition-segments thatare simultaneously being played back at the same time. While, the volumeof each of the other recognition segments may be played back at adistinguishably (to a typical user) lower volume. This may allow a userto use the difference in volume to more easily identify, which of thesimultaneously playing recognition-segments corresponds to thecurrent-location in the ordering of compositions. This may allow theuser to more quickly locate a desired composition among the “n”recognition-segments that were simultaneously being played back at thesame time.

In some embodiments, the playback volume of the recognition-segment atthe current-location in the ordering of compositions, may be adjusted tobe distinguishably louder than all the other recognition-segments thatare simultaneously being played back; while the volume of each of theother recognition segments may be played back at the same lower volume.For example, in FIG. 15, 1521 may be at the usual volume; while 1522,1523 and 1524 may be at half the volume of 1521. Note that many othervolume ratios such as one third, one quarter, etc may also be used.

In some embodiments, the playback volume of the recognition-segment atthe current-location in the ordering of compositions, may be adjusted tobe distinguishably louder than all the other recognition-segments; whilethe volume of each of the other recognition segments is furtherdecreased by the distance the recognition-segment is from thecurrent-location in the ordering of compositions. For example, in FIG.15, 1521 may be at the usual volume; while 1522 is at half the volume of1521; and 1523 is at one quarter the volume of 1521 and 1524 is at oneeighth the volume of 1521. A user may sense how much arecognition-segment is further ahead (i.e., away from the currentlocation) in the ordering, by how low its volume is relative to theothers. Note that in general, many other variations in the relativevolume of the recognition-segments may be used, such as logarithmic,linear, exponential, “1/(distance from current-location)”, etc.

Simultaneous Playback of a Plurality of Recognition-Segments inDifferent Sound Channels:

In another (optional) embodiment, the simultaneous playback of aplurality of recognition-segments may be divided between two or moresound channels (e.g., stereo right and left channels). By distributingeach of the recognition-segments differently in volume, across theavailable sound-emitters (e.g., speakers or headphones); eachrecognition-segment may be made to appear to occurring at in a differentdirection and/or location in the space around the user. By configuringeach recognition-segment so that each appears to occur to come from adifferent direction and/or appears to be located at a different locationin space, a user may more identify which recognition-segment at thecurrent-location and also to more easily recognize a recognition-segmentfor a composition, they are trying to find.

For example, in the simultaneous playback of “n”=4 recognition-segmentsshown in FIG. 15, the recognition-segment for the current-location(1513) may be played only in the right channel, while the otherrecognition-segments (1514, 1515, 1516) that are near/adjacent to thecurrent-location in the ordering may be simultaneously played only inthe left channel. How the recognition-segments appear in the left andright channels may be changed or reverse (e.g., user selectable), basedon user(s) preferences.

By distributing each recognition-segment at different volumes to theplurality of sound-emitters (e.g., speaker); each recognition-segmentmay appear to occur at a different physical location relative to theuser. In a multi-speaker system, each individual recognition-segment maybe variably distributed between the many speakers in-order to make thesound from each particular recognition-segment, to appear to originatefrom a certain direction and/or certain location in physical spacearound the user.

FIG. 11 shows an example of distributing the recognition-segments fromthe “n”=5 example shown in FIG. 8, across a plurality of sound emitters(e.g., speakers) [2111, 2112, 2113, that are physically located: arounda user 2191 and the user ears 2181 and 2182. The distribution of therecognition-segments in physical space around a user, may be made tocorrespond to the ordering of the compositions. For example as shown inFIG. 11, the recognition-segment corresponding to the current-location1515 may be distributed to the speakers so that it appears to be at aphysical location that is just in front of the user. As shown in FIG.11, the recognition-segments that are later (further ahead) in theordering 1516 and 1517, may be distributed so they appear to be atphysical locations 1833 that are further in front of the user, incorrespondence with their distance from/ahead-of the current-location inthe ordering. As shown in FIG. 11, the recognition-segments that areearlier in the ordering 1514 and 1513, may be distributed so they appearto be at physical locations 1832 that are further behind the user, incorrespondence with their distance behind the current-location in theordering. The directional correspondences may be configured/changed tosatisfy the preferences of a user(s).

In general, dependent on the number and locations/positions of soundemitters relative to the user or user's ears the recognition-segmentsmay be placed in 1-dimension, 2-dimensions and/or 3-dimensions in thephysical space about a user.

For example, when the ordering is linear listing on a display (e.g., a1-dimensional case), when the current-location is moved downward on thedisplay, the recognition-segments may sound as if they are moving fromright to left (or alternatively right to left); or therecognition-segments may sound as if they are moving from in front ofthe user to behind the user (or alternatively from behind to the frontof the user). Such directional correspondences may be configured/changedto satisfy the preferences of a user(s).

For the case of a 2-dimensional table of recognition segments such asshown in FIG. 7, the recognition segments may distributed in a2-dimension space around the user. For example, the rows of the tablemay be configured to correspond to the right and left directions inphysical space relative to a user; while the columns of the table (706,707, 708) may be configured to correspond to the front/ahead andback/behind relative to a user. Such directional correspondences may beconfigured/changed to satisfy the preferences of a user(s).

Customization of Recognition-Segments for a User(s):

In one optional embodiment, the user may be able set [e.g., viacontrol(s) or menu(s)] whether recognition-segments, that contain aplurality of overlaid sound segments from different parts of the samecomposition; are either enabled or disabled.

In one optional embodiment, a user may be able set [e.g., via control(s)or menu(s)] whether a division of the sound segments among soundchannels is enable or disabled. A user may be able set [e.g., viacontrol(s) or menu(s)] how a plurality of recognition-segments fromdifferent parts of the same composition are to be divided among aplurality of sound channels.

In one optional embodiment, the user may be able set [e.g., viacontrol(s) or menu(s)] the duration of recognition-segments (e.g., howlong each recognition segment will play for). This may be useful inembodiments where the current-location is automatically moved to thenext composition in the ordering, whenever each recognition segment hasfinished being played back (and then the recognition-segment for the newcurrent-location automatically begins playback). In some embodiments,such as similar to those illustrated in FIG. 7 and FIG. 14, the lengthsof the beginning recognition-segments 706; middle recognition-segments707; and ending recognition-segments 708 may be set by the user.

In one optional embodiment, the user may be able set [e.g., viacontrol(s) or menu(s)] the number (“n”) of recognition-segments that aresimultaneously played back.

In another optional embodiment, the user may be able set (e.g., via acontrols or menus) how the volumes of the “n” recognition-segments thatare simultaneously played back, will vary relative to each other. Forexample, the user may select between logarithmic, linear, exponential,“1/(distance from current-location)”, etc, or user-input custom ratiosof recognition-segment volumes.

In another optional embodiment, the user may be able set (e.g., via acontrols or menus) which recognition-segments adjacent to thecurrent-location in the ordering are simultaneously played back at thesame time. For example, the user may be able to choose betweenrecognition-segments that are either before the current-location (e.g.,FIG. 15) or after the current-location (e.g., FIG. 17); orrecognition-segments that are both before and after the current-location(e.g., FIG. 8).

In another optional embodiment, the user may be able set (e.g., via acontrols or menus) the virtual directional location in (a virtual) spaceabout the user, in relation to movements of the current-location on thedisplay. Depending on the embodiment, directional settings may be madein 1-dimension; 2-dimensions and/or 3-dimensions. For example, when theordering is linear listing on a display (e.g., a 1-dimensional case),when the current-location is moved downward on the display, therecognition-segments may sound as if they are moving from right to left(or alternatively right to left); or the recognition-segments may soundas if they are moving from in front of the user to behind the user (oralternatively from behind to the front of the user).

Examples of Applications Using Recognition-Segments:

Recognition-segments may be used whenever a user wants to locate and/oract upon a specific composition in a group of compositions. Examples ofapplications and user-devices modes/contexts where recognition-segmentsmay be used to find or act on a composition in a group of compositionsinclude:

-   -   1) A set of user favorites ordered from most favorite to least        favorite.    -   2) A set of recent plays ordered from most recent to least        recent.    -   3) A set of compositions by an artist (such as an album or        collective works). The set may be ordered by artist        creation/release date or highest to lowest estimated user        likeability or another order appropriate to the user's request.    -   4) A set of compositions in a particular genre. The set may be        ordered by highest to lowest estimated user likeability or        another appropriate order.    -   5) A set of compositions resulting from a user initiated search.        The search results may be ordered from highest to lowest        probability of matching the user's request. The search request        my have been initiated by any means, including a user's verbal        (voice) request for a specific composition, where there may be        multiple compositions that match the request.    -   6) The set of composition on a compact disk (CD), DVD, hard disk        drive or other storage medium.    -   7) Navigating the compositions in a Playback Stream or playlist        ordering.    -   8) Helping a User Build and/or Review a Playlist.    -   9) Using of Recognition-Segments in an Apple iPod or Similar        User-Device:

Additional details of using recognition-segments in these applicationsare discussed below.

Application: Composition-Finder:

The composition-finder tool may aid the user in finding and playing-backa particular composition in a group of compositions. Thecomposition-finder is particularly useful for audio compositions thatcontain an audio musical component such as musical recordings (e.g.,songs) and music videos. Associated with each composition is a shortrecognition-segment (sound segment) which has been pre-selected as themost quickly recognized portion of the composition. Therecognition-segment may be a fraction of a second to multiple secondslong, representing a highly distinguishable part of the composition. Therecognition-segment may be a separately stored sound segment (e.g.,separate file). Alternatively, the recognition-segment may be defined bystart and end pointers into the full composition itself. The choice ofthe highly recognizable portion(s) of each composition may be made bythe artists, experts, focus groups, or others.

FIG. 6 is a flow diagram of one embodiment of a composition-finder.Entry into the composition-finder mode may occur when the user initiatescontrol action(s) to locate a specific composition in a group ofcompositions. Referring to FIG. 6, the process begins with an orderingof compositions 608. The finder begins by playing therecognition-segment corresponding to the initial current-location in theordering of compositions 600. For some applications/modes, the initialcurrent-location may correspond to the first entry in the ordering ofcompositions. When there is no user control action 602 and therecognition-segment has finished playing 603, the recognition-segmentcorresponding to the next entry on the ordering of compositions may beplayed 600. The playing of the recognition-segment for the followingentries in the ordering continues until there is user control action.When there is user control action 602, the control action may berecorded 604 as “user history or feedback” and may be associated withthe composition that was playing when the user control action occurred.If the control action was “Play” 605 a, then the playing of the fullcomposition is begun 606. The full composition is played to the end,unless user control action is taken 602. If the user control action is“Forward” 605 c, then the currently played recognition-segment orcomposition is stopped and play begins on the next recognition-segmenton the ordered list 600. If the user control action is “Back” 605 b,then the currently played recognition-segment or composition is stoppedand play begins on the previous recognition-segment on the ordered list601. If a user control action other then “Play”, “Back” or “Forward”occurs, then the composition-finder mode may be exited and actionappropriate to the other control action is performed 607.

Application: Finding a Composition on a CD or DVD or Storage Device:

Recognition-segments may also be used to more quickly find a desiredcomposition on a CD, DVD or any other storage device. The order ofcompositions may be in the order they occur on the CD, DVD, or storagedevice. Other ordering schemes (e.g., popularity or user rating) may beused.

When the user activates the appropriate control(s), an audio sequence ofrecognition-segments may be played. The user may activate the “forward”or “back” controls to more quickly navigate through therecognition-segments. When the user hears the “recognition-segment” forthe desired composition, the user activates the “play” control to hearthe full composition from the beginning. The use of recognition-segmentsallows the user to more quickly locate the desired composition,especially compared with using the beginning of each composition whichis often not as immediately distinguishable as other portions of thecomposition.

Application: Resolving an Ambiguous User Request or Search:

Some user-devices may provide a search of a catalog or a user library.The user may make a (possibly verbal) request for a composition(s) byenter/providing search parameters such as artist name oralbum/composition title. The search results may include multiplecompositions and/or there may be multiple compositions that satisfy thesearch criteria/parameters including cases where there is ambiguity ofthe request.

For example, the user may verbally request a composition by title (andpossibly artist) for which there may be multiple versions of thecomposition that match the user's request (e.g., multiple studio andlive-concert versions by the same artist). The list of compositionssatisfying the request may be ordered based on probability of matchingthe user's request. Recognition-segments may then be used to quicklyfind the desired composition.

Another example is a user request for the compositions by an artist. Thecompositions by the artist may be ordered by popularity,creation/release date, user rating or other ranking schemes. The usermay activate the “forward” or “back” controls to more quickly navigatethrough the recognition-segments to find and select the desiredcomposition(s) for playback.

Application: Finding a Particular Favorite Composition of a User:

Some user-devices may maintain a user's ratings of compositions that theuser has heard or that may be in the user's library. Thecomposition-finder to help the user find a specific favorite compositionfor immediate playback.

Based on data in the user's playback-history or the user ratings ofcompositions, a list of the user's favorites may be ordered fromcurrently most favorite to least favorite. When the user activates theappropriate control(s), an audio sequence of recognition-segments, inorder of most favorite to least favorite, may be played for the user.The user may activate the “forward” or “back” controls to more quicklynavigate through the recognition-segments.

When the user hears the “recognition-segment” for the desiredcomposition, the user activates the “play” control to hear the fullcomposition from the beginning. The use of recognition-segments allowsthe user to more quickly locate the desired composition, especiallycompared with using the beginning of each composition which is often notas immediately distinguishable as other portions of the composition.

Application: Navigating a Playback Stream:

Some user-devices may automatically provide a stream of compositions fora user. Some user-devices may allow a user to navigate “backward” and“forward” through this stream of compositions. For example, a user maydecide to replay a song (e.g., the 5th previous song) in the stream byactivating the “back” (and if necessary “forward”) controls until thedesired song is reached.

In this case, the order of compositions (and recognition-segments) isthe stream play order. Each time the “back” control is activated arecognition-segment for the previous composition in the stream isplayed. When the user hears the recognition-segment for the desiredsong, the user activates the “play” control which begins playback of thefull composition the user desired to hear. If the user went too farback, the user may activate the “forward” control to move to the nextcomposition in the stream history. In this manner, a user can morerapidly navigate “back” or “forward” through the prior history of astream of compositions to find a desired composition or review thestream history.

In another option enhancement, the user may also be allowed to navigatethrough the future stream of compositions that the user-device has notyet played. In this case, the order of compositions (andrecognition-segments) is the future stream play order. Each time theuser activates the “forward” control, the user-device may “act-upon” theassociated composition. Examples of “acting-upon” the associatedcomposition include “adding” or “removing” the associated compositionfrom the future stream or immediately “playing” the full associatedcomposition. In this manner, a user can more rapidly navigate throughthe future stream of compositions to find a desired composition or toreview and optionally even alter the future stream.

By combining these two ways of using recognition-segments, a user canquickly and seamlessly navigate through both the prior history andfuture order of a stream of compositions.

Application: Helping a User Build, Modify and/or Review a Playlist:

In some embodiments of user-devices a user to may manually selectcompositions from a library of compositions, in-order to create acustomized ordered playlist of compositions. In some embodiments, adisplay may present to a user with a visual listing of compositions thatare available from a library and a visual listing of the playlistselections by composition title and artist. The user may add or removecompositions from the playlist by interacting with a display. When theuser is uncertain what the composition is by its textual information(e.g., text showing the composition title and/or artist), arecognition-segment(s) may be played so the user can quickly decide byhearing a highly recognizable portion of the composition.

Recognition-segments may also be used to build, modify and/or review theorder and content of a playlist. The compositions may be ordered byplaylist order. The recognition-segments allow the user may rapidly hearand navigate (“back” and “forward”) through the playlist ordering ofcompositions in-order to review the playlist selections and their order(and perhaps optionally add or delete compositions or re-order thecompositions).

When building their playlist, some users may desire to have a particulartransition effect from each composition to the following composition inthe playlist. For this case, the user building the playlist may also beinterested in both the beginning portion and end portion of eachcomposition as well as a highly recognizable portion from the middle ofthe composition. For this case, it may be desirable to define threeseparate recognition-segments (beginning, middle and ending segments)that a user can select during playlist review.

Alternatively, as discussed elsewhere, a singleconcatenated-recognition-segment may be defined as a concatenation ofthe beginning, middle (highly recognizable) and ending portions of thecomposition. When such concatenated-segments may be played back inplaylist sequence, the user can quickly review both the compositions andtransitions between compositions. A user may more quickly build andreview their playlist by interacting with associatedrecognition-segments of each composition.

In some embodiments, an ordering may have a plurality ofrecognition-segments that are associated with each composition in anordering. re 7 shows an embodiment of a display screen showing anordering 700 of compositions and multiple recognition-segmentsassociated with each composition. The display may be suitable for thebuilding/modifying/reviewing a playlist of compositions.

FIG. 7 shows an embodiment of a display screen showing an ordering 700of compositions and multiple (i.e., a plurality of) recognition-segmentsassociated with each composition. Composition information 705 such astitle and artist may be displayed. In FIG. 7, three types ofrecognition-segments are associated with each composition. Theserecognition-segments may contain the beginning 706, the middle (highlyrecognizable) 707, and the ending 708 portion of each musicalcomposition.

In some embodiments, only two recognition-segments may be associatedwith each composition in an ordering. For example, a beginningsound-segment and ending sound-segment may be associated with eachcomposition in an ordering. This may enable to more easily create aplaylist order with a desired transition and/or compatibility, betweenthe end of one composition and the beginning of the next composition inthe playlist.

In some embodiments, a default value for the length/duration of theending sound-segment may be defined. This value may also be optionallyinput/defined by the user. Typical values for the length duration of theending sound-segment may range from 2 to about 8 seconds (with 3, 4 or 5seconds as common). For example, if the length/duration of the endingsegment is set to 5 seconds then the last 5 seconds of the associatedcomposition is played, when user navigation activates causes the endingsound-segment to be played.

In some embodiments, a default value for the length/duration of thebeginning sound-segment may be defined. This value may also beoptionally input/defined by the user. Typical values for the lengthduration of the beginning sound-segment may range from 3 to about 10seconds (with 4 to 8 seconds as common). For example, if thelength/duration of the beginning segment is set to 6 seconds then thefirst 6 seconds of the associated composition is played, when usernavigation activates causes the beginning sound-segment to be played.

In some embodiments, the user may have an option to over-ride thedefault length/duration values, by inputting/defining thelengths/durations of each of the individual ending sound-segments orbeginning sound-segments.

In some embodiments, the display (e.g., for example shown in FIG. 7) maybe defined using HTML (hyper-text markup language). The compositioninformation 705 (e.g., title, artist) may appear as the HTML hyperlinkanchor-text, with the actual composition pointer 705 defined as thehyperlink address or universal resource locator (URL). Eachrecognition-segment may be similarly defined with anchor-text (or symbolto represent the recognition-segment) along with an underlying hyperlinkaddress (e.g., URL).

FIG. 14 illustrates another example of how an ordering of compositionsmay be displayed for a user on a portion of a display or in a window ona display. The length/duration of each composition (1405, 1406, 1407,1408) may be indicated. The title (and artist) may be displayed for eachcomposition that is displayed. The locations of the beginningsound-segment [B], recognition sound-segment(s) [R] and endingsound-segment [E] may be shown on the display for the user. Composition3(1407) shows an example of a composition with two recognitionsound-segments (Ra and Rb).

Composition4 (1408) shows an example of where a user has (optionally)defined a unique (non-default) location and duration/length of thebeginning sound-segment (1411). Composition4 (1408) also shows anexample of where a user has (optionally) defined a unique (non-default)location and duration/length of the ending sound-segment (1411). A usermay interactively manipulate the symbols for the sound-segments in-orderto change their locations and/or duration/length.

To add a composition to the ordering, the user may “drag” or insertanother composition to a desired location in the shown ordering ofcompositions. For example, a composition “x” may be dragged or insertedbetween composition1 (1405) and composition2 (1406). Similarly, a usermay delete or cut a composition from the shown ordering.

To change the location of a composition in the ordering, the user maydrag or cut/paste a composition (e.g., say from a library listing) tothe desired location in the shown ordering of compositions (e.g., say aplaylist). For example, the user may drag composition2 (1406) to occurafter composition4 in the ordering.

The display may be synchronized with the user navigation control actionsand the currently active (e.g., playing) recognition-segment orcomposition may be indicated using display highlighting methods such asa using different display color, boldness, brightness and/or othermethod.

The interactive display may also allow a user to define the transitionfrom each composition to its following composition. The interactivedisplay may allow a user to define a duration/length of “silence”between the end of one composition and the start of the followingcomposition. The interactive display may also allow a user to define theamount of overlap (mixing/combination) that occurs at the end of onecomposition and the beginning of the following composition. For example,an up-arrow (1421) may be used to indicate that a portion ofcomposition3 (1407) is to overlap and be played simultaneously with thestart of composition4 (1408).

Application: Use of Recognition-Segments in an Apple iPod or SimilarUser-Device:

Some Apple iPod devices (and similar devices) have a “click wheel” toallow users to move up and down in a listing or ordering of items suchas a playlist of songs; alphabetical listing of songs; list of songs inan artist's album; catalog listing of songs; albums; artists; etc. Auser may slide one of their fingers along the “click wheel” in theclockwise direction to move down a list of items (e.g., songs) and mayslide one of their fingers along the “click wheel” in thecounter-clockwise direction to move up a list of items (e.g., songs).

Other Apple iPod devices (and similar devices) have a touch screendisplay technology where a user may swipe (e.g., drag one of theirfingers in an upward or downward on the displays surface) to move up anddown in a listing or ordering of items such as a playlist of songs;alphabetical listing of songs; list of songs in an artist's album;catalog listing of songs; albums; artists; etc. A user may drag one oftheir fingers in a downward direction on the displays surface, to movedown a list of items (e.g., songs). A user may drag one of their fingersin an upward direction on the displays surface, to move up a list ofitems (e.g., songs).

One or more recognition-segment mode(s) may be incorporated into thevarious iPod devices (a user-device) and similar user-devices (e.g.,Smart-phone; Apple iPhone; tablet-device; iPad; etc). When in arecognition-segment mode, a current-location is defined and indicated inan ordering of items; and the current-location in the ordering is movedas the user navigates through or around the ordering of items. When in arecognition-segment mode, each time the current-location is changed byuser navigation of the ordering; a recognition-segment that isassociated with the current-location in an ordering of items may beplayed by the user-device.

FIG. 9 shows an example, of a listing of songs that may be displayed onan iPod or similar user-device. At each moment in time, acurrent-location 1961 may be defined and indicated in an ordering ofcompositions (e.g., songs) 1991 on a display. As a user uses the“click-wheel” or finger-swipes on the display (or other gestures) tonavigate up and/or down through an ordering of compositions 1991, thecurrent-location may change. Each time the user navigates to a newcurrent-location, a recognition-segment associated with the compositionat the current-location 1914 is played back for the user. For example,when user navigation causes the current-location to arrive at “SongTitle “j″”, then a recognition-segment associated with “Song Title “j″”is played back for the user. If user navigation (in the downwarddirection) then causes the current-location to move to “Song Title“j+1″”, then a recognition-segment associated with “Song Title “j+1″”(1915) is played back for the user. The use of recognition-segments mayallow a user to more quickly recognize and/or find a composition (e.g.,song) in an ordering of compositions, when navigating the ordering on aniPod or similar device.

As shown in FIG. 9, a symbol or icon (e.g., an arrow; 1961) may be usedto indicate which composition 1914 is at the current-location in theordering 1991. In addition, the composition that is at the currentlocation (1914) may be visually distinguished (1962) from the othercompositions in the ordering 1991, by the use of different highlighting;color(s); brightness; etc and/or use of a highlighted border 1963 aroundthe composition 1914 at the current-location.

FIG. 10 shows, of a listing of songs that may be displayed on an iPod orsimilar user-device; for an embodiment where “n”=4 recognition-segmentsare played back at the same time. At each moment in time, acurrent-location 2061 may be defined and indicated in an ordering ofcompositions (e.g., songs) 1991 on a display. As a user uses the“click-wheel” or finger-swipes on the display (or other gestures) tonavigate up and/or down through an ordering of compositions 2091, thecurrent-location may change. Each time the user navigates to a newcurrent-location, a recognition-segment associated with the compositionat the current-location 1914 is played back for the user. For example,when user navigation causes the current-location to arrive at “SongTitle “j″”, then a recognition-segment associated with “Song Title “j″”is played back for the user. If user navigation (in the downwarddirection) then causes the current-location to move to “Song Title“j+1″”, then a recognition-segment associated with “Song Title “j+1″”(1915) is played back for the user. The use of recognition-segments mayallow a user to more quickly recognize and/or find a composition (e.g.,song) in an ordering of compositions, when navigating the ordering on aniPod or similar device.

As shown in FIG. 10, a symbol or icon (e.g., an arrow; 2061) may be usedto indicate which composition 1914 is at the current-location in theordering 2091. In addition, the composition that is at the currentlocation (1914) may be visually distinguished (2062) from the othercompositions in the ordering 2091, by the use of different highlighting;color(s); brightness; etc and/or use of a highlighted border 2063 aroundthe composition 1914 at the current-location. In addition, a symbol oricon 2081 may be used to indicate which “n” compositions (1914, 1915,1916, 1917) are having their associated recognition-segmentssimultaneously being played. In addition, the other compositions thathave recognition-segments simultaneously being played back but are notat the current location (1915, 1916, 1917) may also be visuallydistinguished from the other compositions in the ordering 2091, by theuse of different highlighting; color(s); brightness; etc and/or use of ahighlighted border.

Some Additional Embodiments

One embodiment may be described by the following:

-   -   An apparatus-implemented method to help users to find and play        compositions that contain an audio component, the method        comprising:        -   storing in a memory or memories, an ordering of recognition            sound-segments; wherein one recognition sound-segment is            designated as the active location in the ordering; wherein            each recognition sound-segment includes a portion of a            composition that will be recognized by a user who has            previously experienced the composition; wherein each            recognition sound-segment does not begin with the beginning            of the composition;        -   initiating the playback of the recognition sound-segment            that corresponds to the initial active location in the            ordering of recognition sound segments;        -   automatically changing the active location in the ordering:            -   when user navigation control action or actions are                detected that indicate the active location is to be                changed to another recognition sound-segment in the                ordering, or            -   when the recognition sound-segment that corresponds to                the currently active location, has completed playback;        -   responsive to each change of the active location in the            ordering, substantially immediately initiating the playback            of the recognition sound-segment that corresponds to the new            active location; and        -   responsive to the detection, by the apparatus, of a user            control action indicative of a play command; initiating the            playback, from the beginning, of the complete composition            that is related to the recognition sound-segment which is            currently playing.

Another embodiment may be described by the following:

-   -   Music or Entertainment Playback Apparatus, comprising:        -   a memory or memories, to store an ordering of recognition            sound-segments; wherein one recognition sound-segment is            designated as the active location in the ordering; wherein            each recognition sound-segment includes a portion of a            composition that will be recognized by a user who has            previously experienced the composition; wherein each            recognition sound-segment does not begin with the beginning            of the composition; and        -   a processor or processors configured to            -   initiate the playback of the recognition sound-segment                that corresponds to the initial active location in the                ordering of recognition sound segments;            -   automatically change the active location in the                ordering:                -   when user navigation control action or actions are                    detected that indicate the active location is to be                    changed to another recognition sound-segment in the                    ordering, or                -   when the recognition sound-segment that corresponds                    to the currently active location, has completed                    playback;            -   respond to each change of the active location in the                ordering by: substantially immediately initiating the                playback of the recognition sound-segment that                corresponds to the new active location;            -   respond user control action indicative of a play command                by: initiating the playback, from the beginning, of the                complete composition that is related to the recognition                sound-segment which is currently playing.

Another embodiment may be described by the following:

-   -   An apparatus-implemented method to help users arrange or        organize a group of compositions, where each composition        contains an audio component, the method comprising:        -   storing in a memory or memories, an ordering of recognition            sound-segments; wherein one recognition sound-segment is            designated as the active location in the ordering; wherein            each recognition sound-segment includes a portion of a            composition that will be recognized by a user who has            previously experienced the composition; wherein each            recognition sound-segment does not begin with the beginning            of the composition; wherein a recognition-segment was            chosen, from a plurality of alternative sound-segments that            were created for a given composition, based on how quickly            users were able to recognized each one of the alternative            sound segments for the given composition;        -   initiating the playback of the recognition sound-segment            that corresponds to the initial active location in the            ordering of recognition sound segments;        -   automatically changing the active location in the ordering:            -   when user navigation control action or actions are                detected that indicate the active location is to be                changed to another recognition sound-segment in the                ordering, or            -   when the recognition sound-segment that corresponds to                the currently active location, has completed playback;        -   responsive to each change of the active location in the            ordering, substantially immediately initiating the playback            of the recognition sound-segment that corresponds to the new            active location; and        -   responsive to the detection of an arranging or organizing            control action taken by a user, acting upon the composition            that is related to the currently playing recognition            sound-segment, to effect the use or location of the related            composition within the group of compositions.

Another embodiment may be described by the following:

-   -   One or more storage memory or medium, having computer-readable        instructions thereon which, when executed by one or more        computing devices, implements the method of:        -   storing in a memory or memories, an ordering of recognition            sound-segments; wherein one recognition sound-segment is            designated as the active location in the ordering; wherein            each recognition sound-segment includes a portion of a            composition that will be recognized by a user who has            previously experienced the composition; wherein each            recognition sound-segment does not begin with the beginning            of the composition;        -   initiating the playback of the recognition sound-segment            that corresponds to the initial active location in the            ordering of recognition sound segments;        -   automatically changing the active location in the ordering:            -   when user navigation control action or actions are                detected that indicate the active location is to be                changed to another recognition sound-segment in the                ordering, or            -   when the recognition sound-segment that corresponds to                the currently active location, has completed playback;        -   responsive to each change of the active location in the            ordering, substantially immediately initiating the playback            of the recognition sound-segment that corresponds to the new            active location; and        -   responsive to the detection, by the user-device, of a user            control action indicative of a play command; initiating the            playback, from the beginning, of the complete composition            that is related to the recognition sound-segment which is            currently playing.

Another embodiment may be described by the following:

An apparatus-implemented method to help users to find and playcompositions that contain an audio component, the method comprising:

-   -   storing in a memory or memories, an ordering of recognition        sound-segments; wherein one recognition sound-segment is        designated as an initial active location in the ordering;        wherein each recognition sound-segment includes a portion of a        composition that will be recognized by a user who has previously        experienced the composition; wherein each recognition        sound-segment does not begin with the beginning of the        composition;    -   initiating the playback of the recognition sound-segment that        corresponds to the initial active location in the ordering of        recognition sound segments;    -   changing, by the apparatus, the active location in the ordering:        -   when user navigation control action or actions are detected            that indicate the active location is to be changed to            another recognition sound-segment in the ordering, or        -   when the recognition sound-segment that corresponds to the            currently active location, has completed playback;    -   responsive to each change of the active location in the        ordering, initiating a playback of the recognition sound-segment        that corresponds to the new active location; and    -   responsive to a detection, by the apparatus, of a user control        action indicative of a play command; initiating the playback,        from the beginning, of the complete composition that is related        to the recognition sound-segment which is currently playing.

Another embodiment may be described by the following:

-   -   A method to help a user find and act-upon a composition        containing an audio component, the method comprising:        -   providing one or more sound-segments that are associated            with each composition in an ordering of compositions;        -   playing one or more said associated sound-segments while            navigating said ordering of compositions;        -   acting-upon the composition associated with the currently            active sound-segment, when initiated by user control action            or user inaction;        -   whereby a user can quickly locate and act-upon a desired            composition by hearing a sound-segment associated with said            composition.

Another embodiment may be described by the following:

-   -   A method to help a user find and act-upon a composition        containing an audio component, the method comprising:        -   providing one or more sound-segments that are associated            with each composition in an ordering of compositions;        -   playing one or more said associated sound-segments while            navigating said ordering of compositions;        -   acting-upon the composition associated with the currently            active sound-segment, when initiated by user control action            or user inaction;        -   whereby a user can quickly locate and act-upon a desired            composition by hearing a sound-segment associated with said            composition.

Another embodiment may be described by the following:

-   -   An apparatus-implemented method to help a user to arrange or        organize compositions that contain an audio component, the        method comprising:        -   utilizing or providing, at a user-device, an ordering of            sound-segments and compositions; wherein at least three            different sound-segments are related to each composition,            wherein the three sound segments include:            -   a first sound-segment that comprises a beginning portion                of the composition,            -   a second sound-segment that is a recognition                sound-segment; wherein a recognition sound-segment                comprises a portion of the composition that will be                substantially immediately recognized by the user who has                previously experienced the related composition; and            -   a third sound-segment that comprises an ending portion                of the composition;        -   playing a plurality of said sound-segments including at            least one recognition sound-segment, while the user is            navigating said ordering of sound-segments; and        -   responding to action by the user; to arrange or organize the            composition that is related to a sound-segment which is            playing or currently active.

Another embodiment may be described by the following:

-   -   An apparatus-implemented method to help a user to arrange or        organize compositions that contain an audio component, the        method comprising:        -   utilizing or providing, at a user-device, an ordering of            sound-segments and compositions; wherein at least two            different sound-segments are related to each composition,            wherein the two sound segments include:            -   a first sound-segment that comprises a beginning portion                of the composition or an ending portion of the                composition;            -   a second sound-segment that is a recognition                sound-segment; wherein a recognition sound-segment                comprises a portion of the composition that will be                substantially immediately recognized by the user who has                previously experienced the related composition;        -   playing a plurality of said sound-segments including at            least one recognition sound-segment, while the user is            navigating said ordering of sound-segments; and        -   responding to action by the user; to arrange or organize the            composition that is related to a sound-segment which is            playing or currently active.

Another embodiment may be described by the following:

-   -   Music or Entertainment Playback Apparatus, comprising:        -   a memory or memories, to store an ordering of recognition            sound-segments; wherein one recognition sound-segment is            designated as a current-location in the ordering; wherein            each recognition sound-segment includes a portion of a            composition that will be recognized by a user who has            previously experienced the composition; wherein some            recognition sound-segments do not begin with the beginning            of the composition; and        -   a processor or processors configured to            -   initiate the playback of the recognition sound-segment                that corresponds to the current-location in the ordering                of recognition sound segments;            -   automatically change the current-location in the                ordering:                -   when user navigation control action or actions are                    detected that indicate the current-location is to be                    changed to another recognition sound-segment in the                    ordering, or                -   when the recognition sound-segment that corresponds                    to the current-location, has completed playback;            -   respond to each change of the current-location in the                ordering by: initiating the playback of the recognition                sound-segment that corresponds to a new                current-location;            -   respond to a user control action indicative of a play                command by: initiating the playback, from the beginning,                of the composition that is related to the recognition                sound-segment at the current-location in said ordering.

Another embodiment may be described by the following:

-   -   One or more storage memory or medium, having computer-readable        instructions thereon which, when executed by one or more        computing devices, implements the method of:        -   storing in a memory or memories, an ordering of recognition            sound-segments; wherein one recognition sound-segment is            designated as the active location in the ordering; wherein            each recognition sound-segment includes a portion of a            composition that will be recognized by a user who has            previously experienced the composition; wherein each            recognition sound-segment does not begin with the beginning            of the composition;        -   initiating the playback of the recognition sound-segment            that corresponds to the initial active location in the            ordering of recognition sound segments;        -   automatically changing the active location in the ordering:            -   when user navigation control action or actions are                detected that indicate the active location is to be                changed to another recognition sound-segment in the                ordering, or            -   when the recognition sound-segment that corresponds to                the currently active location, has completed playback;        -   responsive to each change of the active location in the            ordering, substantially immediately initiating the playback            of the recognition sound-segment that corresponds to the new            active location; and        -   responsive to the detection, by the user-device, of a user            control action indicative of a play command; initiating the            playback, from the beginning, of the complete composition            that is related to the recognition sound-segment which is            currently playing.

Another embodiment may be described by the following:

-   -   An apparatus-implemented method for helping a user to find and        act-up compositions that contain an audio component, the method        comprising:        -   storing in a memory or memories, an ordering of recognition            sound-segments that are related to compositions that contain            an audio component; wherein one recognition sound-segment in            said ordering is designated as a current-location in the            ordering;        -   in response to navigation action by said user that changes            the current-location in said ordering, automatically            simultaneously playing back at a same time, a plurality of            recognition-segments including the recognition-segment at            the current-location and one or more recognition-segments            that are associated with compositions that are adjacent to            the current-location in said ordering;        -   responsive to detection by the apparatus of a user control            action, taking action to arrange or organize the composition            that is related to the recognition-segment at the            current-location.

Each of the above embodiments may be further enhanced by the addition ofone or more of the following elements or features, either individuallyor in various combinations together:

-   -   wherein the composition is music.    -   wherein the composition is a music video.    -   wherein the user can navigate through the ordering using forward        and/or back control actions, without the user needing to view        the ordering on an active visual display.    -   wherein the ordering was automatically generated, for the user        based on a user-request.    -   wherein the ordering was automatically generated for the user        based on a verbal user-request, and the recognition        sound-segments are ordered by their probability of satisfying        the verbal request made by the user; wherein the verbal request        was for a composition title and/or artist.    -   wherein the ordering was automatically generated, for the user,        based on the operating mode or context of the user-device.    -   wherein the ordering of recognition sound-segments corresponds        to the playback order of a sequence or stream of compositions;        wherein the playback order was customized for the user.    -   wherein the ordering of recognition sound-segments corresponds        to the playback order of a playlist.    -   wherein the recognition sound-segments are associated to their        related compositions by pointers, links, hyperlinks, universal        resource locators and/or universal object identifiers.    -   wherein the recognition sound-segments are associated to their        related compositions by a standardized file-naming convention,        tables, databases and/or linked-lists.    -   wherein at least some of said recognition sound-segments have        been chosen to minimize the recognition time of the user or        users who have previously experienced the related composition.    -   wherein at least one of the recognition sound-segments was        configured at least partially based upon a test of the        recognition time of the user or users who have previously        experienced the related composition.    -   wherein at least one of the recognition sound-segments has been        previously test against a user or users, in-order to verify that        the recognition sound-segment is substantially immediately        recognized by the user or users who have previously experienced        the related composition.    -   wherein a substantially immediately recognizable part of one of        said compositions is incorporated at the beginning of one said        related recognition sound-segment.    -   wherein a recognition-segment was chosen from a plurality of        alternative sound-segments that were created for a given        composition; based on how quickly users were able to recognized        each one of the alternative sound segments for the given        composition.    -   wherein a recognition sound-segment for a given composition was        previously determined to be recognized the soonest among a        plurality of alternative sound-segments, that had been created        for the given composition and tested then for their recognition        times.    -   wherein a recognition sound-segment was previously tested to        verify that a user or users would recognize the composition, if        the recognition sound-segment has played for a fraction of a        second.    -   wherein a least one recognition sound-segment was previously        tested to verify that a user or users would recognize the        composition, if the recognition sound-segment has played for 1        second or less.    -   wherein a least one recognition sound-segment was previously        tested to verify that a user or users would recognize the        composition, if the recognition sound-segment has played for 2        seconds or less.    -   wherein a least one recognition sound-segment was previously        tested to verify that a user or users would recognize the        composition, if the recognition sound-segment has played for 3        seconds or less.    -   wherein a least one recognition sound-segment was previously        tested to verify that a user or users would recognize the        composition, if the recognition sound-segment has played for 5        seconds or less.    -   further comprising showing on an active display:        -   a representation of the ordering; and        -   an indication of the currently active recognition            sound-segment within the representation of the ordering.    -   wherein at least one of said recognition sound-segments includes        a mix or addition of a plurality of sound segments; wherein at        least one of the mixed or added segments contains a        substantially immediately recognizable portion of the related        composition.    -   wherein some of said recognition sound-segments include an audio        description of characteristics of the related composition;        wherein said characteristics include the artist name or        composition title.    -   further comprising: playing a defined sound that indicates that        a recognition sound-segment will begin playing.    -   wherein a said sound-segment includes a subset of said        associated composition or a highly recognizable portion of said        associated composition.    -   wherein said navigating includes playing a said sound-segment in        response to a user request or user navigation control action; or        automatically playing another sound-segment when the prior        sound-segment has finished.    -   wherein said navigating includes user control actions to move        backward or forward in said ordering of associated        sound-segments.    -   wherein said currently active sound-segment includes the        currently playing sound-segment or the most recently played        sound-segment.    -   wherein said acting-upon includes playing an associated        composition; or adding/deleting an associated composition        to/from a playlist or stream of compositions.    -   wherein said ordering of associated sound-segments is ordered        based on a user request; or a user-device context; or estimated        satisfaction of a user's request.    -   wherein a said sound-segment contains a plurality of segments        from the associated composition.    -   wherein a said sound-segment includes a mix of a plurality of        sound segments.    -   wherein the duration of a said sound-segment is from a fraction        of a second to multiple seconds long.    -   wherein a said sound-segment is selected using artists,        creators, experts or focus groups.    -   wherein said compositions include recorded music and music        videos.    -   further comprising: providing one or more recognition        sound-segments that are related to a said composition.    -   wherein a said recognition sound-segment contains a plurality of        segments from the related composition.    -   further comprising: acting-upon the composition that is related        to the most recently played recognition sound-segment, when user        action has not occurred before the complete said recognition        sound-segment has finished playing.    -   wherein at least some of said recognition sound-segment were        substantially immediately recognized when tested with a group of        users.    -   wherein said navigating includes playing a recognition        sound-segment in response to a user request or user navigation        control action, or automatically playing another recognition        sound-segment when the prior recognition sound-segment has        finished.

Each of the above embodiments may be further enhanced by the addition ofone or more of the following elements or features, either individuallyor in various combinations together:

-   -   wherein the user can navigate through the ordering using forward        and/or back control actions, without the user needing to view        the ordering on an active visual display.    -   wherein at least one of the recognition sound-segments has been        previously test against a user or users, in-order to verify that        the recognition sound-segment is substantially immediately        recognized by the user or users who have previously experienced        the related composition.    -   wherein a recognition-segment was chosen from a plurality of        alternative sound-segments that were created for a given        composition; based on how quickly users were able to recognize        each one of the alternative sound segments for the given        composition.

Each of the above embodiments may be further enhanced by the addition ofone or more of the following elements or features, either individuallyor in various combinations together:

-   -   wherein a recognition-segment at the current-location is        configured to play back louder than any of the        recognition-segments that are adjacent to the current location.    -   wherein playback loudness of recognition-segments that are        adjacent to the current-location, decreases with increasing        distance from the current-location.    -   wherein a recognition-segment at the current-location is played        back in a different channel and/or at a different volume than        recognition-segments that are at adjacent locations.    -   wherein the recognition-segments for composition or compositions        that are adjacent to the current-location are played back at a        lower volume and/or in different sound channels.

Each of the above embodiments may be further enhanced by the addition ofone or more of the following elements or features, either individuallyor in various combinations together:

-   -   An apparatus-implemented method as in claim _: wherein a        recognition-segment at the current-location is configured to        play back louder than any of the recognition-segments that are        adjacent to the current location.    -   An apparatus-implemented method as in claim _: wherein playback        loudness of recognition-segments that are adjacent to the        current-location, decreases with increasing distance from the        current-location.    -   An apparatus-implemented method as in claim _: wherein a        recognition-segment at the current-location is played back in a        different channel and/or at a different volume than        recognition-segments that are at adjacent locations.    -   An apparatus-implemented method as in claim _ wherein the        recognition-segments for composition or compositions that are        adjacent to the current-location are played back at a lower        volume and/or in different sound channels.

Additional Applications:

Many other uses for associated recognition-segments may be employedwithin the scope of the disclosed concepts and embodiments.

As shown in the embodiments, the user may quickly find and act-upon aspecific composition without viewing a display or scrolling thoughwindow(s) of visual information. It is particularly suitable where uservisual distractions may be dangerous/undesirable such as when driving anautomobile or where the user does not want to view a visual display(e.g., listening to compositions in a darkened room).

In order to more clearly illustrate functionality, portions of thepreceding discussion were oriented toward a user-device with a manuallycontrolled interface; however more generally, any type of user interfaceincluding voice controlled and body-motion controlled may be used.

Although the disclosed concepts and embodiments may be particularlysuitable for use with music compositions (i.e., songs), the disclosedconcepts and embodiments may be more generally useful with any type ofmedia or multi-media composition that includes an audio component. Thisincludes music, music videos, audio versions of books, talks, speeches,voice content, lectures, short films, movies, video programs, televisionprograms, etc.

Not Limited to Detailed Illustrations:

To satisfy the requirements for enablement, this disclosure may containone or more embodiments which illustrate a particular detailedimplementation and use. A detailed illustration often requires choosingonly one of a plurality of equivalent detail approaches to show. Whenterms such as “shall”, “should”, “is”, “are” appear, they should only beinterpreted as limitations/requirements for the purpose of maintainingcompatibility/consistency between the elements/parameters of theparticular detailed illustration. Such terms should not be interpretedas limitations or requirements on the scope of the general concepts asdisclosed in their entirety.

For example, if element “A”, in a detailed embodiment, is shown ashaving a certain detailed configuration, then mating element “B” in thatdetailed example may need to have corresponding limitations in-order tobe compatible/interoperable with the detailed element “A”. Suchlimitations on element “B” for compatibility within a detailedillustration do not define limitations on element “B” within all thepossible embodiments that fall within the scope of the claims. Ifanother embodiment had been chosen for illustration purposes, element“A” may have a very different detailed configuration and therequirements on element “B” for compatible/interoperable with theelement “A” may be very different.

In general, the detailed implementations for the elements in theillustrated embodiments may have many alternate implementations thataccomplish the same functional result/objective and are within the scopeof the claims.

What is claimed is:
 1. An apparatus-implemented method to help user(s)to configure a playlist and/or a sequence of compositions and/or astream of compositions, comprising: displaying, onelectronic-display(s), a first ordering of sound-segments representing acomposition playback order of said: playlist and/or a sequence ofcompositions and/or a stream of compositions; wherein saidsound-segments are arranged in one or more dimensions; wherein one ormore sound-segments are associated with each composition in saidordering; wherein at least one of said sound-segments associated witheach composition includes a portion of its associated composition whichis more recognizable to user(s) than a beginning part of its associatedcomposition; displaying, on electronic-display(s), an indicator of acurrent-location in said first ordering that refers to one of saidsound-segments in said first ordering; displaying, onelectronic-display(s), a second ordering of sound-segments thatrepresent compositions available to be added to said: playlist and/or asequence of compositions and/or a stream of compositions; wherein saidsound-segments are arranged in one or more dimensions; wherein one ormore sound-segments are associated with each composition in saidordering; wherein at least one of said sound-segments associated witheach composition includes a portion of its associated composition whichis more recognizable to user(s) than a beginning part of its associatedcomposition; displaying, on electronic-display(s), an indicator of acurrent-location in said second ordering that refers to one of saidsound-segments in said second ordering; changing the current location insaid second ordering, in response to user navigation action(s) on saidsecond ordering; playing the sound-segment that is associated with thecurrent-location in said second ordering, in response to each change tothe current-location in said second ordering; and in response to acommand-action by the user: add, move, paste, or copy, the compositionthat is associated with the sound-segment at the current-location insaid second ordering, into said first ordering.
 2. The method of claim 1wherein said composition that is associated with the sound-segment atthe current-location in said second ordering, is added, moved, pasted,or copied, into said first ordering relative to the compositionassociated with the current location of said first ordering.
 3. Themethod of claim 1 wherein said sound-segments are related to theirassociated compositions by pointers, links, hyperlinks, universalresource locators and/or universal object identifiers.
 4. The method ofclaim 1 wherein said sound-segments are related to their associatedcompositions by a standardized file-naming convention, tables, databasesand/or linked-lists.
 5. The method of claim 1 wherein at least one ofsaid recognition sound-segments is configured at least partially basedupon a test of a recognition time of people who have previouslyexperienced its associated composition.
 6. The method of claim 1 whereinat least one of said recognition sound-segments is chosen from aplurality of alternative sound-segments that were created for a givencomposition, based on how quickly a group of users were able torecognize each one of the alternative sound-segments for the givencomposition.
 7. The method of claim 1 wherein at least one of saidrecognition sound-segments was previously determined to be recognizedsooner than one or more alternative sound-segments, that had beencreated for its associated composition and tested for recognition timesof people who have previously experienced its associated composition. 8.The method of claim 1 wherein at least one of said sound-segmentsincludes a mix or addition of a plurality of different sound-segments;and wherein at least one of the mixed or added segments, includes aportion of its associated composition, which is more recognizable to agroup of users than a beginning part of its associated composition. 9.The method of claim 1 wherein at least one of said sound-segmentsincludes an audio description of characteristics of its associatedcomposition; and wherein said characteristics include an artist name orcomposition title.
 10. The method of claim 1 wherein the order ofcompositions of said second ordering is automatically generated, forsaid user based on a user-request.
 11. The method of claim 1 wherein theorder of compositions of said second ordering is automaticallygenerated, for said user based on a user-request, and said compositionsare ordered by their probability of satisfying said user-request. 12.The method of claim 1 wherein said sound-segments in said first orderingand/or in said second ordering, are arranged in one dimension on saidelectronic-display(s); and wherein said ordering is navigated in anup-down direction.
 13. The method of claim 1 wherein said sound-segmentsin said first ordering and/or said sound-segments in said secondordering, are arranged in two or more dimensions on saidelectronic-display(s).
 14. The method of claim 1 wherein saidsound-segments in said first ordering and/or said sound-segments in saidsecond ordering, are arranged in two dimensions on saidelectronic-display(s); and said first ordering and/or said secondordering is navigated in an up-down direction and a left-rightdirection.
 15. The method of claim 1 wherein a length of one or more ofsaid sound-segment(s) is adjustable by said user.
 16. The method ofclaim 1 wherein one or more of said recognition sound-segments comprisetwo or more portions of said associated composition that are morerecognizable to user(s) than a beginning part of its associatedcomposition.
 17. The method of claim 1 wherein for a plurality ofcompositions in said first ordering and/or a plurality of compositionsin said second ordering, a beginning sound-segment and an endingsound-segment are also associated with each composition; and whereineach said beginning sound-segment and each said ending sound-segment isalso displayed on said electronic-display(s), relative to an indicatorof composition-length of its associated composition.
 18. The method ofclaim 1 wherein for a plurality of compositions in said first orderingand/or in said second ordering, a beginning sound-segment and an endingsound-segment are also associated with each composition; and whereinsaid beginning sound-segments and said ending sound-segments are alsodisplayed on said electronic-display(s).
 19. Apparatus to help user(s)to configure a playlist and/or a sequence of compositions and/or astream of compositions, comprising: electronic-display(s), that display:a first ordering of sound-segments representing a composition playbackorder of said: playlist and/or a sequence of compositions and/or astream of compositions; wherein said sound-segments are arranged in oneor more dimensions; wherein one or more sound-segments are associatedwith each composition in said ordering; wherein at least one of saidsound-segments associated with each composition includes a portion ofits associated composition which is more recognizable to user(s) than abeginning part of its associated composition; an indicator of acurrent-location in said first ordering that refers to one of saidsound-segments in said first ordering; a second ordering ofsound-segments that represent compositions available to be added tosaid: playlist and/or a sequence of compositions and/or a stream ofcompositions; wherein said sound-segments are arranged in one or moredimensions; wherein one or more sound-segments are associated with eachcomposition in said ordering; wherein at least one of saidsound-segments associated with each composition includes a portion ofits associated composition which is more recognizable to user(s) than abeginning part of its associated composition; an indicator of acurrent-location in said second ordering that refers to one of saidsound-segments in said second ordering; electronic-circuitry and/orprocessor(s) that: change the current location in said second orderingon said electronic-display(s), in response to user navigation action(s)on said second ordering; play the sound-segment that is associated withthe current-location in said second ordering, in response to each changeto the current-location of said second ordering; and in response to acommand-action by the user: add, move, paste, or copy, the compositionthat is associated with the sound-segment at the current-location insaid second ordering, into said first ordering.
 20. One or morecomputer-readable memories or storage media, not includingcarrier-waves, having computer-readable instructions thereon which, whenexecuted by electronic-circuitry and/or processor(s), implement a methodto help user(s) to configure a playlist and/or a sequence ofcompositions and/or a stream of compositions, said method comprising:displaying, on electronic-display(s), a first ordering of sound-segmentsrepresenting a composition playback order of said: playlist and/or asequence of compositions and/or a stream of compositions; wherein saidsound-segments are arranged in one or more dimensions; wherein one ormore sound-segments are associated with each composition in saidordering; wherein at least one of said sound-segments associated witheach composition includes a portion of its associated composition whichis more recognizable to user(s) than a beginning part of its associatedcomposition; displaying, on electronic-display(s), an indicator of acurrent-location in said first ordering that refers to one of saidsound-segments in said first ordering; displaying, onelectronic-display(s), a second ordering of sound-segments thatrepresent compositions available to be added to said: playlist and/or asequence of compositions and/or a stream of compositions; wherein saidsound-segments are arranged in one or more dimensions; wherein one ormore sound-segments are associated with each composition in saidordering; wherein at least one of said sound-segments associated witheach composition includes a portion of its associated composition whichis more recognizable to user(s) than a beginning part of its associatedcomposition; displaying, on electronic-display(s), an indicator of acurrent-location in said second ordering that refers to one of saidsound-segments in said second ordering; changing the current location insaid second ordering, in response to user navigation action(s) on saidsecond ordering; playing the sound-segment that is associated with thecurrent-location in said second ordering, in response to each change tothe current-location in said second ordering; and in response to acommand-action by the user: add, move, paste, or copy, the compositionthat is associated with the sound-segment at the current-location insaid second ordering, into said first ordering.